The Gloria is an absolutely splendid piece: its initial impact is sustained with electrifying effect throughout the ''Gloria'' proper (not quite all 'sacred' music manages this!) and is given entirely suitable contrast in the ''Domine Deus'' (some exemplary solo singing here: I think divine assistance must have been forthcoming, considering what all too many concert singers would have made of the passage); and the impact is renewed as the ''Quoniam'' gathers strength. It was conceived as concert music, Rutter says; and indeed many, many concerts should be regularly illuminated by music so good as this.
The anthems are rather more obviously ecclesiastical; but they are very varied, and they certainly never descend to the religioso. Many are entirely charming, and all benefit from the same standards of performance accorded the Gloria. That is, not only is the solo singing exemplary; so is the choral singing, and so is the instrumental contribution. This is basically the Philip Jones Brass Ensemble on top form for the Gloria, and the City of London Sinfonia in similar shape for some of the anthems. Both groups have an extra source of colour, with most effective scoring for the solo organ.
The quality of the recording matches everything else. This is a jewel of a record: even those usually frightened, in a musical context, of the word 'sacred' (and who have my sympathy in the matter!) should take courage on this particular occasion.'