On the one hand, serious admiration for what Robert Quinney is already doing to this illustrious choir within its own longstanding stylistic parameters. On the other, frustration that what was once the most relevant recording ensemble of its kind is churning out a ‘Favourite Anthems’ disc that we can add to a teetering pile. You can probably guess the repertoire without looking, though we do at least get a narrow streak of good-quality new music here.

New College Choir’s distinctive sound – the polar opposite to the rooted glow of an ensemble like that of St John’s, Cambridge – is recognisable here, but Quinney is taming the wildness that Edward Higginbottom instilled in the trebles and which could become unruly. The choir still sing with expression but have a keener sense of blend, if not quite the clipped frisson of their neighbours at Christ Church. The side effect – perhaps a result of the work being done on that blend – is that the performances can sound a little grounded. Harris’s Bring us, O Lord God lacks rapture. The organ doesn’t snarl at the start of Stanford’s For lo, I raise up, which sets up a neat performance of a work whose initial priorities aren’t neatness. The unfamiliarity of Matthew Martin’s striking motets induces more characterful singing.

The meditative pace and darkening light of an evensong may explain this respectful approach. But we can hear that, with added authenticity, on the choir’s regular webcasts. For a taste of New College Choir as a serious recording force exploiting their own idiosyncrasies, you need only sniff out recordings of Blow (Novum, 9/16), Ludford (K617, 8/08), Bach (Naxos, 6/03) and Pergolesi (Erato, 12/02). Here’s hoping their next record continues that distinguished line, not this weather-beaten one.