This sampling of Byrd’s two-volume set of motets, one of his best-loved publications (in modern times, at least) shows off both the variety and the sheer quality of his achievement as a motet composer. It’s hard to fault the choice of works here, which includes some of his best-known in the genre, from the impressive and moving Ne irascaris/Civitas sancti tui to smaller-scale pieces whose characterisation is unerringly accurate (like the opening Haec dies, whose festive atmosphere immediately marks it out as a Christmas piece).

The Choir of Trinity College, Cambridge, is adept at capturing the differing moods of the pieces. In this, the present disc this is more successful than the choir’s recent survey of Palestrina Offertories (4/07). On the one hand, Byrd clearly gives them more to work with; but one gets a greater sense here of familiarity with this music, as though the performances have been worn in (but not worn out). Only occasionally do they seem overly “conducted”. True, the slow build-up from pianissimo at the beginning of Ne irascaris is impressively managed, but it draws attention to itself more than one might like: is not Byrd’s move from the lower register to a fuller scoring sufficient unto itself? Such interpretative questions don’t detract from the overall impression. As an introduction to Byrd’s sacred music this is a distinct success.