Abstract
This album presents twelve polyphonic motets drawn from the Requiem for the Time of the End in their first complete sequential recorded form, making the research outcomes of the Requiem composition (see A1) available for peer scrutiny in audio form. The recording decisions – ensemble size, acoustic, balance, editing philosophy – constitute additional research-through-practice, also partly documented on film, and mediating the composed music for the listener in ways that reveal or conceal specific compositional features.