Most of these pieces are vocal in nature. The singers are fairly nimble and spirited and give good accounts of Confitebor tibi II (Viktoria Wilson, Minsub Hong, Julian Popken) and Laudate Dominum in sanctis eius (Martin Logar). Elsewhere, in Ohimé ch’io cado, we get some rather un-italianate squeezed vowel sounds, though the performance hints at what is probably a Spanish influence behind this piece.

Does it all add up to a consistent musical argument? I’m not sure. But whether or not you find yourself persuaded by the end, you’re guaranteed plenty of colour and entertainment along the way.