After listening through these pieces I'm reminded again how Britten could always respond to a text with genuine commitment (be it the overtly political Advance Democracy or the devout Te Deum), and of his skill in writing music of quality for the most disparate of musical forces. Those British prisoners-of-war in a German camp must have had their spirits lifted by his exuberant Ballad of Little Musgrave and Lady Barnard sent out to them page by page in 1943. Similarly the church choir who were presented with his C major Te Deum must have relished this simple, unpretentious setting with its characteristic quasi-pizzicato organ pedal line. But The Sixteen sing with an artistry few church choirs could ever hope to match and their performance focuses attention on aspects of Britten's writing which are so often missed; the wonderful buoyancy of ''the glorious company of the Apostles'' (1'37'') and the heartfelt song of praise, ''Thou art the King of Glory'' (2'55''), sung not by the full choir but by a solo soprano (and how superlatively Libby Crabtree sings it, her control and artistry are quite extraordinary).
Harry Christophers seems to have approached everything afresh, and while with some pieces that's not difficult (and if you don't already know them, the delightful Wedding Anthem shows an unusually fervent side of Britten's church music while the folk-like setting of The Sycamore tree has a charm which is utterly captivating), with Rejoice in the Lamb Christophers finds a depth and sincerity in the music which sets this performance apart. A disc of exceptional quality then, reinforcing The Sixteen's reputation as one of the finest choirs of our day.'