Apart from Wishart, the composers on the British album are alive, and all, with the exception of Joubert, relatively young. However, none of the composers on the French disc is still with us, the most recently deceased being Villette (1926-98), so while the second volume is a fairly comprehensive survey of contemporary British choral writing, the French disc has a historical slant.

The choral tradition in France suffered substantial breaks (because of the effects of the Revolution and later because of lack of interest) but is reviving thanks to composers such as Olivier Greif and Thierry Machuel, so while one cannot sniff at the glories of Poulenc’s, Messiaen’s and Villette’s generations, it would be interesting if this series were to include a contemporary French programme to compare directly with the likes of Grier and Dove. Indeed, the notes to the French volume touch on British influence when discussing Villette’s later works, Attende Domine (1983) and Panis angelicus (1995).

The three works by Villette demonstrate the range and quality and the subtle radiance of his writing. O sacrum convivium!, Messiaen’s only motet, is nearly five minutes of genuine bliss, typically sensuous and celestial, and close in feeling to his early organ music. Poulenc described his own artistic persona as a mixture of “monk and guttersnipe”, but in this choral music that should perhaps be part monk, part holy fool. These pieces, performed so well by New College, have an earnest, monastic dedication to sound structures, and immaculate surfaces.

The British disc comprises a rich, well chosen selection of works that confirm just how vigorous and robust the British tradition remains, and what safe hands that tradition is in when composers of this calibre are willing to continue it with such understanding and respect for the strengths and needs of the church choir.