This follows a sequence which mirrors a typical Sunday in an Anglican cathedral. Indeed, most of the music was written for just such a purpose, the Eucharist setting and the Responses for Edinburgh and the Evening Canticles for Truro. Despite its title, the scintillating Toccata was written for Symphony Hall, Birmingham, rather than the Welsh cathedral; it is spectacularly brought to life by Michael Bonaventure.

Jackson writes that the recording is ‘the culmination of a four-year association with Matthew Owens and the Choir of St Mary’s Cathedral’ and there is an obvious self-assurance in these performances which points to close familiarity with the musical style. Jackson’s music slips easily off the tongue and causes no offence to the listener – Matthew Greenall’s booklet note says that it ‘rejoices in warm, major-key hues and Ionian modality’ – and there are some arresting effects, including a luminous Gloria (from the Edinburgh Mass) that calls to mind Poulenc in his most religious vein. Owens fully understands the character of an Anglican cathedral choir while, for their part, the Edinburgh choristers respond with superlative performances, full of spirit and vigour, compelling in their enthusiasm but always secure and sensitive. Owens has trained this choir to an exceptionally high level and the sound (one must assume it was recorded in the cathedral itself) can only be described as luxurious.