Confession time: I admit to having not previously heard a note of this Polish composer before, despite the fact that he has been widely recorded, not least by Tenebrae (Signum, 8/18) and Polyphony (Hyperion, 7/09). Now in his mid-fifties, all of his compositions are overtly sacred. Much of this album consists of premiere recordings of pieces composed since 2004. The State Choir Latvija under Māris Sirmais, its director of a quarter of a century, reaffirms what a subtle and flexible instrument it is. These singers clearly enjoy every aspect of this survey of highly accomplished choral writing.

Although Łukaszewski is his own man, there are some obvious stylistic influences. Poulenc hovers benevolently overhead in the 2016 Ubi caritas, for example, which is fitting given that the piece was commissioned by the Maîtrise de Toulouse. One could almost mistake the euphonious sumptuousness of the opening track, Oratio pro adventus, for Eric Whitacre.

Generally, textures tend to be homophonic and harmonies – while tonal – abound in luscious added-note chords. The emotional and dynamic dials wander far and wide, enriched by carefully applied touches of portamento and susurrando (whispering). There is just one setting of an English text, the Prayer for Those Who Shall Return by the Irish writer Katharine Tynan. With a flavour of late Vaughan Williams (all those second inversion chords), it is a model of concision and balance.

The final two tracks are for two a cappella choirs. Salve regina is notable for some splendid low bass-writing and alluring, gently rocking antiphonal passages. The most substantial piece on the programme, Veni Creator, was composed to mark the 60th anniversary of the ending of the Second World War and uses German and Latin texts. This is Łukaszewski at his most stylistically advanced and exciting, and makes a striking conclusion to an outstanding album, sung with complete assurance and passion.