With the arrival of Adrian Willaert at St Mark’s Cathedral in 1527, Venice at last boasted a musician of international reputation to match its growing image as a ‘city rich in gold but richer in renown, mighty in works but mightier in virtue’.

The establishment of Venice as the world leader in music publishing, and the coming and going of international musicians, made the Floating City anything but insular, and artistic competition was order of the day, with organists duelling to outdo each other in invention and grace; while on the streets a different culture of lively dances gave rise to more opportunities for instrumentalists to show off their improvisational skills.

Intimate yet exuberant, scholarly yet unrestrained, Gawain Glenton and Silas Wollston’s exploration of the often dazzlingly virtuosic repertoire shows how the enduring ‘myth of Venice’ was built in sound just as much as it was in marble.