That (the Tudor motet) has been kept moving in the manner one comes to recognise as characteristic of the choir and its director. The chapel’s acoustics largely dictate musical policy in this respect. Reverberance is minimal, so quick speeds are not only possible but desirable. Unaccompanied polyphony gains in clarity but forfeits the sense of voices rising and “lingering as loath to die”. Nineteenth-century grandeur would probably not stand a chance: the nearest to that here is the Gloria of Stanford’s Magnificat in G, most song-like of his many settings, which again is moved briskly along (3'58" to Kings’ 4'17"). The quality of the voices, their intonation and blending, are severely tested and not found wanting. Recorded sound is sometimes a little too bright and edgy for my liking, but that may be personal. The disc is well presented, with good photographs and informative notes. The playing-time of just over 50 minutes is not generous.