Despite the dire predictions of certain doom-mongers, the quality of British liturgical choral music commissioned in the past few years has continued to be of the highest quality and the greatest interest. This glorious new album, recorded in 2020, features 11 newish works, superlatively performed and recorded in stunning detail.

Opening with Jonathan Dove’s 2010 anthem Vast ocean of light, we are transported to a simmering, ostinato-driven, light-filled place. The relatively slow pace of harmonic change adds to a powerful sense of timelessness. The Missa brevis (2009) is suitably concise and a fine test of the trebles’ higher notes. The Gloria, in particular, bounds along with an infectious joy. Most impressive is They will rise, composed for the centenary in 2018 of the RAF’s formation. Here the choir appropriately takes wing, supported by a surging organ accompaniment, in itself a distinctive, dramatic foil. Judith Weir’s The true light is also linked to the First World War, in this case the 100th anniversary of the Armistice. Its mood of ethereal solemnity is reinforced by a slightly curious organ interlude.

The lion’s share of the album is given to the music of Matthew Martin (b1976), a composer with a seemingly inexhaustible dynamic invention. In his 2009 anthem In the midst of thy temple Martin discreetly incorporates the final strains of Purcell’s hymn tune Westminster Abbey – a gentle and poignant touch. His Westminster Evening Service for upper voices is also highly effective, especially the Nunc dimittis with its haunting repeated organ phrases.

The final two pieces display the great breadth of his range. O Oriens takes as its starting point the well-known old French melody sung to ‘Come, thou dayspring, come and cheer’, but with some breathtaking reharmonisations, and is expanded and transformed into a spacious statement. Even more impressive is Behold now, praise the Lord (2015), dedicated to the memory of the much-lamented John Scott. How he would have relished the organ part – a real tour de force, complete with ‘forearm clusters’ – played here with total assurance by Peter Holder.

Under James O’Donnell’s inspired direction, the Abbey’s choristers throw themselves wholeheartedly into this demanding repertory, in performances that will surely dispel any lingering Covid blues.