They’re all here‚ these Sunday­best anthems of the Stanford­to­Howells era – the years of plenty we may think of them as far as English church music is concerned if nothing else. The sequence of Hail‚ gladdening light‚ Greater love hath no man and I was glad is rich fare for a start. Some surprises on the way include EW Naylor’s Vox dicentis‚ an impressively resourceful‚ well sustained piece for unaccompanied choir written for King’s when the composer was organist at Emmanuel. That is followed by William Harris’s Faire is the heaven (lovely example of quiet expertise and restrained opulence)‚ with Vaughan Williams’ antiphon ‘Let all the world’ to finish. This is not the period and style of music most associated with the famous choir‚ but they command nowadays an ample body of tone and supplement this with the refinement which comes with their long tradition in the mastery of Tudor polyphony. It might be questioned‚ of course‚ whether there is a film to be made out of this; but yes‚ the visual element is a genuine enrichment. The beauty of the candlelit chapel is a presence that accompanies the music – we are aware of it in details of stonework and stained glass as in the broader perspectives of fan­vaulting and some breathtaking shots covering the length of the whole building. Then there are the faces of men and boys in the choir‚ with occasional visits to the organ loft where the complexities of stops and manuals‚ combinations and pedals are resolved in apparently unfazable calm. The video direction is wonderfully precise and plays its own set of intricate variations on the themes of choir and chapel. At the end we take in the familiar view from the Backs and turn off the DVD with a sense of time well spent. For those who want more‚ there’s a 30­minute documentary which looks at a chorister’s life at King’s‚ plus a performance by organ scholar David Hyde of Stanford’s Postlude in D with the option of three different‚ simultaneously filmed camera angles.