Roughly 150 years separate Ockeghem's Intemerata Dei mater and Joao IV of Portugal's Crux fidelis. This sample of renaissance motets covers a wide range of composers and genres, but its very diversity is something of a mixed blessing. Individually, the performances work well enough, but one listens in vain for a common thread to guide the listener, prompting comparison, opposition or association. The chronological ordering does not much help matters; neither does the uniformity of Summerly's interpretations. The choral approach (two to a part), though obviously suited to works of the high renaissance, is far less convincing in the earlier repertoire. On the positive side, the collection gets better as it goes along: the singers really get into their stride with Morales's Magnificat and from then on they are obviously on familiar ground. A qualified welcome, then, but certainly worth investigating at the price.'