Layton's affinity with this radiant, accessible music is clear as he guides the Trinity College Choir, which sings with passion and purity throughout this programme.

A superlative issue in every way. This inspired music by the contemporary Polish composer employs a convincing language of ‘renewed tonality’ in its impassioned response to the traditional liturgical texts … these young Cambridge singers bring a technical mastery and total commitment to this vibrant music

Layton is arguably the finest choral director working today in the UK … Layton’s choral scholars sing this challenging music, with its dazzling polytonal clusters, complex chords, and non-traditional progressions with absolute purity of tone, perfection of
intonation, and depth of feeling … we live in a renaissance of sacred choral music … I found myself amazed at each subtle harmonic surprise, at each stunningly apt underlining of a phrase … do not hesitate

This is a lovely disc of enchanting choral music.
Possibly the Trinity College Choir does not always provide the warmth of tone such unashamedly expressive music demands, but that is more than compensated for by the sheer intensity of Stephen Layton's direction: only the hardest of musical hearts will remain unmelted by such committed interpretations.
It was for Layton that Pawel Lukaszewski produced his setting of the Nunc dimittis. In its beautifully measured phrases, immaculately tailored textures and ingenious use of light and shade to invoke light shining out of darkness, it is a gem which receives here a beautifully poised account. Effusive reference in the booklet to Lukaszewski's masterful handling of the concluding fade-out – 'a hackneyed effect in the hands of lesser composers' – did get the juices of critical scepticism running for a bit until heard, along with all the other potentially hackneyed choral effects (polytonal clusters in Mementomei, Domine, frequently reiterated dynamic contrasts in Beatus vir, Sanctus Martinus, continually repeated melodic and rhythmic motifs in O Sapientia), and realised that here is a composer who really is a true master of the art of a cappella writing and for whom other people's experiments and gimmicks are an essential tool in conveying a profound emotional message.
Once or twice – notably in a saccharine setting of the Ave Maria (although the purity of Rebecca Lancelot's voice manages to divert any cloying character) and an over-clichéd Crucem tuamadoramus – the musical quality is compromised by emotional effect, but all in all this is a lovely disc. It has been difficult to draw this CD out of the player, so frequently has it been played.
There's no higher praise.

This is a lovely disc of enchanting choral music. Possibly the Trinity College Choir does not always provide the warmth of tone such unashamedly expressive music demands, but that is more than compensated for by the sheer intensity of Stephen Layton's direction. ...this is a lovely disc.

[Lukaszewski's] style is hardly adventurous, but there is a resourceful use of what he terms "renewed tonality" and a refreshingly clear-sighted approach to various Latin motet texts. And with performances as sonorous and acutely paced as these, they come across with a winning fervour.