This programme is very similar to the Bruegel that I reviewed in August 2004, the main difference being that there are more consort and instrumental items and fewer vocal ones. The relationship of the music to the period of the artist is well demonstrated and an excellent chart in the booklet allows one to compare the historical chronology. The period is an interesting one; I did not realise that Holland had only just become a state in its own right only 25 years prior to Rembrandt's birth, and that warring with Spain was still then prevalent, particularly in the Antwerp area. The cessation of Catholicism and advent of Calvinism obviously had great effects on the music and character of the people, not just in Holland, but over most of post-Reformation Europe and England. This is shown in examples and extracts from the various composers featured on the disc.

As on the previous disc mentioned, the music is typical in the time and style of the countries affected; except for Fantini, who was Italian, all the examples are from Holland, France, Germany and England. The continental pieces particularly show the more sedate and serious aspect that the separation from the Catholic church gave rise to. Even the dances are dignified, with an early indication of the style of music which became the baroque. At the same time, the progression of style across the countries according to their geographical position is evident as the lighter nature of Lully's court music and ballet is more a mirror of its Italian counterpart.

There is a nice mixture of solo instrument as in organ, lute, and keyboard as against consort music and choral pieces, particularly as the fashion for more ensemble pieces for the various courts became more widespread. Most of the works are late-Renaissance, with some early Baroque appearing e.g. Lully and Schütz (I have even heard of Gibbons being described as England's first baroque composer; I personally feel that honour belongs to Purcell). The standard of performance is high in all cases, as should be expected with performers of the excellence of the Oxford Camerata, Lawrence Cummings and Jacob Heringman. I had not had the opportunity of hearing the other contributors to the disc, but they acquit themselves well. The recording is true and lifelike and well up to the best standards. The booklet gives a nice vignette of Rembrandt's life, with a quick sketch of the music - not all the pieces are described or mentioned in the text. The words of the psalms by Schütz are included.

If this type of presentation appeals, one will not be disappointed, particularly at bargain price.

John Portwood