Meredith Monk's Return to Earth juxtaposes African-style rhythmic vocalizations and minimalist reiteration of harmonic/melodic cells. It clearly requires as much enthusiasm as vocal technique and in neither aspect are the 24 voices which constitute Musica Sacra wanting. Of the other three specially commissioned works by contemporary American composers (am I unreasonably sceptical in questioning the validity of commissioning so much music purely for inclusion on record?) none matches Monk for sheer originality and inventiveness. Ricky Ian Gordon and Robert Moran clearly relish the rich effects created by unaccompanied voices moving in slow, broad harmonic sweeps and are happy to leave it at that. Kim D. Sherman's Graveside originates from a dramatic presentation Service for the Dead in Bosnia-Herzegovina depicting a mother's lament for her child killed by a grenade while out tobogganing. With such devices as a recurrent thudding (representing ''the collective footfall of the funeral procession'') it certainly paints some vivid musical pictures which are beautifully portrayed in this crystal-clear recording. But I detect rather more conviction from the singers in these American pieces (all, incidentally, recorded with the composers in attendance) than in the two established 'classics' of the genre. The Ligeti fares well enough, although these clean-cut voices keep the other-worldly effect very much at arm's length, but to my ears the Messiaen comes across as clinical and soulless. That's not to say that Richard Westenburg doesn't direct a sincerely devotional performance, but the voices are too fresh and eager (a poor balance which favours a hard-edged tenor line doesn't help). Choral precision and accuracy are all very well, but that elusive third dimension—a sense of profound mystery— is missing.'