‘The Scholars take the [Missa Mater Patris] at an aptly reverential tread,
capturing its introspective—at times hypnotic—qualities. The writing is tight
and spare, the composer contrasting imitative duets with richer chordal
passages. Using just one or two voices to a part, this performance is both
immediate and intimate … the Scholars realise the [Missa Da pacem] with all the
clarity, precision, clarity and conviction for which they are justly renowned’
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