The slightly hazy, distanced sound of the LP is clarified and brought into sharper focus here. The strengths of the choir, too, are revealed in a brighter light: some fine shading, powerful contrasts, with long phrases and chords skilfully sustained. The protrusion of individual tones (usually a ripe bass, occasionally a prickly tenor) receives proportionate exposure, though the pure, boyish firmness of the sopranos is freshly appreciated. As for the motets themselves, I feel largely as I did before, that they are fine compositions individually but not to listened to in sequence. Ecce sacerdos magnus again stands out like a thread of crimson and gold; Os justi meditabitur again approaches heaven's gates at its moment of inspiration; and Christus factus est pro nobis impresses increasingly with its quiet beauty—also representative of the choir at its best.'