This compilation includes selected works by the noted Renaissance composer Ludwig Senfl, who was an important student of Heinrich Isaac. In 1523 Senfl joined the Munich court orchestra at the court of Maximilian I, where he worked until his death.

Gioseffo Zarlino (1517–1590), a priest, was maestro di cappella at San Marco for the last 25 years of his life, following Adrian Willaert and Cypriano de Rore. A year after arriving at San Marco, he published this book of 13 motets for six voices. These motets are being published this year (2013) in a modern edition by Cristle Collins Judd, the annotator of this disc, along with four motets for four voices published a year later (not recorded here).

This compilation includes selected works by the noted Renaissance composer Ludwig Senfl, who was an important student of Heinrich Isaac. In 1523 Senfl joined the Munich court orchestra at the court of Maximilian I, where he worked until his death. Singer Pur will perform these pieces at their Singer Pur Tage festival, and at the 2023 Medieval and Renaissance Music Conference in Munich.

‘According to a dictionary, a whirlwind is: 1. A small rotating wind; and 2. A wild person, moving briskly and violently. Both associations inspired us to choose this title for our recordings. In earlier centuries, women composers rocked many conventions, and today women composers sometimes still have to contend with considerable resistance or prejudice. The women who took up the pen for us in this project are all vibrant, strong and inspiring personalities with enormous focus and concentrated creative energy. The selection of works originate from female composers all over the world.’ - Singer Pur

Flemish composer Adrian Willaert – who served as maestro di capella at the Cathedral of San Marco in Venice from 1527 until his death in 1562 – contributed so much to the Italian renaissance; while he wasn't the first to develop the Venetian polychoral style, its propagation in the mid-sixteenth century may well be laid at his feet. Willaert helped introduce the forms of canzona and ricercare, which greatly aided the growth of instrumental music in the years to come. The nearly overarching interest in chromaticism among Italian composers in the late renaissance can be traced to Willaert's door. Nevertheless, toss a dart into a crowd of music scholars and chances are you won't manage to hit one that has much of an opinion about Willaert's work or his music – it is seldom recorded and CDs devoted to Willaert alone are rare. On their own, these aspects make Oehms Classics' Adrian Willaert: Musica Nova – featuring the talents of expert vocal ensemble Singer Pur – special, valuable, and significant for purposes of study and filling a major hole in the renaissance repertoire. But beyond that, it is a fine listening experience as well.