'My end is my beginning, and my beginning my end' Ð with those words the four members of New York Polyphony end a programme which explores the themes of grief, loss and mortality. Apart from the closing paraphrase by Jackson Hill (b.1942) on Guillaume de Machaut's famous 14th century rondeau Ma fin... and two examples of plainsong, all works included on endBeginning, the ensemble's first disc on BIS, were composed by masters of the Franco-Flemish school of polyphony active in the first half of the 16th century. The music was partly used liturgically, for instance Brumel's Mass for the Dead, which incorporates the first known polyphonic setting of the text Dies ir¾, 'Day of Wrath' as its extensive centre piece. Similarly the Lamentations by Crecquillon, a setting which is possibly appearing on disc for the first time, would have been used in churches during Holy Week, with the destruction of Jerusalem as mourned by the prophet Jeremiah standing as a symbol of the Passion of Christ. The two Gregorian chants Libera me and In paradisum both form part of the Roman Catholic burial service, the first a prayer for the soul's delivery from eternal death and the second an evocation of the hereafter. Of a more subjective nature, the two texts Absalon fili mi ('Absalom, my son') and Tristitia obsedit me Ð Infelix ego ('Sadness has besieged me - Alas, wretch that I am') have moved their respective composers to settings of rare intensity. Formed in 2006, New York Polyphony is establishing a reputation as an exceptionally fine vocal chamber ensemble, and has been praised for a 'rich, natural sound that's larger and more complex than the sum of its parts'

Classical vocal quartet New York Polyphony struck a chord with their 2007 Avie debut, I Sing The Birth (AV 2141). It was an Editor's Christmas Choice in BBC Music magazine, and Classic FM awarded it five stars. For their second release, the all-male foursome delivers their signature fusion of historically informed performances in a range of styles. Interspersed among sacred masterpieces of Tudor England are four new works by British-Norwegian composer Andrew Smith, adding a modern harmonic richness and complexity to the album. The result is a compelling synthesis of ancient and contemporary vocal music.

New York Polyphony is rapidly gaining a reputation as one of the finest new classical vocal ensembles. Fusing elegant vocalism with expert ensemble singing, its four male voices consistently deliver dynamic performances of music spanning nearly a millennium in a range of styles, combining historically-informed interpretive style with their own unique artistry. From the simplicity of plainchant to the dense chromaticism of contemporary works, the New York Polyphony sound is unified, energized and distinctive. The musical landscape traversed on this disc of music for the Advent and Christmas season is broad, from 12th century conductus to a 21st century carol, though the musical center is firmly polyphonic and rooted in the late Medieval world. The group is joined by a women's trio in several works written for more than four parts. The sound is clean and present, with appropriate resonance for this material. For the listener looking for a collection of contemplative Christmas music that steers clear of the most obvious selections and introduces intriguing new repertoire, as well as for the fan of early music vocal ensembles, this album has much to offer.