This disc of premiere recordings of music by one of the most popular British choral composers is dominated by the Requiem of 2010, a medium-length work, cast in seven movements and moulded firmly in the Fauré/Duruflé tradition. Largely reflective in nature (and eschewing the more vengeful and wrathful texts), Chilcott has drawn his inspiration from his time as a chorister at King’s College, Cambridge. The ‘Pie Jesu’ is, naturally, given to a soprano (most eloquently sung by the angelic Laurie Ashworth), and there is also an important role for the tenor soloist in the Offertorio. This movement starts with an affectionate homage to Duruflé, and there are nods here and there to Howells and Rutter en route. Although this is music steeped in the Anglican mainstream, there is just enough of a French influence to prevent it from becoming anodyne and nebulous. Much of the music is slow and reflective with only a few major outbursts, most notably in the uplifting Sanctus. The addition of a wind quartet and timpani brings a freshness and piquancy to the timbral palette and blends beautifully with Jonathan Vaughn’s superb organ-playing.

The finest of the quartet of motets is the turbulent ‘When to the temple Mary went’. The Wells choristers also excel in the ‘Downing’ Mag and Nunc, expertly written treatments of these well-loved canticles. The ending of the Magnificat is a stroke of pure genius. Matthew Owens draws impassioned and beautiful performances throughout this delightful disc.