Composer Francis Pott proceeds from a basis of Renaissance English vocal polyphony, elaborating it with contemporary influences carefully chosen according to text. This release, the second by the small choir Commotio to take up his music, makes a good starting point for those interested. Pott himself has given a concise summary of his aims: "After many years exploring how far I could harness the guiding principles of 16th century imitative polyphony within a tonally and harmonically expanded modern context, more recently I ...
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Composer Francis Pott proceeds from a basis of Renaissance English vocal polyphony, elaborating it with contemporary influences carefully chosen according to text. This release, the second by the small choir Commotio to take up his music, makes a good starting point for those interested. Pott himself has given a concise summary of his aims: "After many years exploring how far I could harness the guiding principles of 16th century imitative polyphony within a tonally and harmonically expanded modern context, more recently I have found myself mixing sacred and secular texts. With this came a more selective attitude to polyphonic counterpoint, and a need to adapt my approach in more conscious reaction to the dictates of a given poem." Here his texts, and thus his sounds, are unusually varied. He can range from full-on tonality to sharp dissonance as needed. At First Light is a memorial piece commissioned by an American listener who requested "a polyphonic burn-out," the virtuoso fourth movement, "Laudibus...
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