This is an atmospheric anthology, fastidiously chosen and delivered by this fine choir. The Barber Agnus Dei, the vocal version of the famous Adagio, is the best-known piece and makes its customary impact, although this performance trumps most others. The slow pace is impressively sustained and there is a telling bass-line commanding a real low D. Then Layton explores Barber’s unaccompanied choral pieces with equal sympathy. ‘Twelfth night’ catches the mystical intensity of Laurie Lee’s nativity poem and Barber also admired the Irish folk qualities of James Stephens in Reincarnations. The choral pacing and phrasing in pieces such as ‘A nun takes the veil’ is impeccable.

The Copland Motets are uncharacteristic student pieces in a conservative style. They were written for his teacher, Nadia Boulanger, when he was probably not yet 21. As it happens, they are close to the idiom of the Barber songs represented here and well worth their 1979 publication, especially in performances like these. Randall Thompson’s Alleluia was a best-selling choral piece from its publication in 1940 right through the 1960s. It may now seem slightly tame, but Thompson caught the mood of Walter de la Mare’s famous poem ‘Fare Well’ to perfection.

The oddity here is the Bernstein Missa brevis. It was put together from recycled material – and it shows – but it does offer an insight into unfamiliar Bernstein with echoes of before and after. Parts of it uses tubular bells; there’s a smattering of drums; and there are some attractive solos, beautifully sung by countertenor David Allsopp.