Tomás Luis de Victoria and Josquin Desprez were not contemporaries, they lived and worked in different countries, and perhaps shared little in terms of abstract compositional style. Yet throughout Europe, generations of musicians recognized them as kindred spirits, and tablature versions of their masses and motets circulated amongst lutenists. For tenor John Potter, this is "the secret life of the music - in historical terms its real life". In this characteristically creative project, Potter - joined by Trio Mediaeval singer Anna Maria Friman and three outstanding vihuela players - explores "what happens to music after it is composed". The album, produced by Manfred Eicher, was recorded at the St Gerold monastery in the Austrian mountains, where Potter previously contributed to Officium and other recordings with the Hilliard Ensemble and with The Dowland Project. Personnel: John Potter (voice); Anna Maria Friman (voice); Ariel Abramovich (alto, tenor and bass vihuelas); Jacob Heringman (tenor and bass vihuelas); Lee Santana (alto and tenor vihuelas); Hille Perl (viola da gamba, tracks 21, 22).