Seven Last Words was commissioned by the BBC in 1993 for Holy Week 1994, when it was broadcast in seven short programmes, a ‘word’ per day. It was recorded in autumn that year for Catalyst (5/95 – nla), also by Polyphony but on that occasion with the London Chamber Orchestra conducted by the composer. I recall thinking that the music was even more gripping shorn of the visuals, and it remains a highly compelling work. This time Stephen Layton, director of Polyphony, takes overall control. It is certainly an impressive performance, if not as dark and not always matching the sense of horror that was present in the earlier recording. Nonetheless, it is an intense, deeply felt interpretation, full of beautiful and affecting singing, with all the elements – string orchestra, featured violin, choir and soloists – nicely balanced.

The other two works, On the Annunciation of the Blessed Virgin (1997) and Te Deum (2001), receive their premiere recordings. On the Annunciation is an intricate but approachable setting for five-part choir and organ of a poem by the 17th-century poet Jeremy Taylor. The luminous lines for voices finally give way to a gradually fading dance for organ. The echoes of Messiaen in this device are matched by some of the organ chords and figures in the dramatic Te Deum, written to mark the Queen‘s Golden Jubilee. From the contemplative opening phrases for male voices, somewhat reminiscent of Mahler’s Urlicht, a dazzling part emerges for solo soprano, sung in characteristically stunning fashion by Elin Manahan Thomas. As ever, MacMillan incorporates all his allusions, including those to Scottish traditional music, into an utterly individual style. The performance confirms Polyphony’s place in the front rank of choirs.