Cultivated at the height of the French baroque, Henry Du Mont's Grands Motets were written for the court of Louis XIV and published posthumously in 1684. Alongside Lully, Du Mont is credited as the creator of the form - an opulent style of church composition for soloists and choir. On O Mysterium, Sebastien Dauce leads the Ensemble Correspondances in a program of Du Mont 's Motets & Elevations pour la Chapelle de Louis XIV.

This recording presents two Austrian requiems of totally different character. Johann Joseph Fux wrote his Requiem in 1720 for the funeral of Eleonora von Neuburg, widow of the Holy Roman Emperor Leopold II. Composed by a musician reputed for his theoretical skill, it impresses with the quality of the polyphonic writing combined with a very rich instrumental fabric comprising cornets, trombones and bassoon in addition to violins, instruments also benefiting from concertante interventions.

At the height of the Renaissance, the music of Orlande de Lassus frequently combines the emotion of secular music with sacred compositions. With their erotic connotations, the texts of The Song of Songs are an ideal source for bringing together sacred and profane feelings. Based on his most famous song, Lassus wrote one of his unitary masses: Suzanne un jour. Along with the Magnificat that he composed on De Rore’s madrigal Ancorche col partire, here are two religious compositions of which the themes are borrowed from evocations of amorous turmoil.

"… he owns a world of technique … he always knows exactly where he is going and what he is doing. He never for an instant miscalculates. He communicates urgently but with strict control. He is alert to every manner of nuance and at every dynamic level his tone flatters the ear." - Los Angeles Times

Following the success of her first two albums, which established Vanessa Benelli Mosell as a successful classical artist (pupil of Stockhausen and devotee to the development of classical music), her third album with Decca focusses on mainstream repertoire.

Anton Bruckner: 9 Symphonies (Decca) comes courtesy of the maestro Hun-Joung Lim and the Korean Symphony Orchestra. It has been a decade or more since the KSO (which recorded the seventh symphony under Jae-Dong Chung), the Suwon Philharmonic (which recorded the third, fourth, sixth, and eighth), and the Jeju Philharmonic (which recorded all nine) gave the world a Korean Bruckner—too long, according to Lim.