Homophonic passages impress with their splendour, enriched here by the chestnut hues of basses William Gaunt and Robert Macdonald. The clarity of line lays bare the ingenuity of counterpoint, no matter how thick the texture becomes - a formidable achievement in Byrd's 'double imitation' motets.

The prevailing mood is penitential, but the pieces are never dull; there's much delight to be had in listening to the way the individual voice parts weave in and out...Skinner gets his singers to bring [the false relations] out so that they send shivers down your spine...[He] shapes the music extremely well.

They use solo voices throughout, mixed voices with a fairly open sound that brings with it more vibrato than we are used to hearing in such music nowadays...That results in performances that are refreshingly free of self-indulgence. Some of the big Byrd pieces in particular are very good indeed.

This is the first time the Cantiones Sacrae has been recorded complete and 'in the original order intended by the composers themselves'...An auspicious beginning to a mighty undertaking.

Contrasts abound: Byrd’s florid three-section Tribue Domine is almost Marian in its vastness, while Tallis’s hymn setting O nata lux de lumine is brevity itself...The dozen singers perform expressively and blend beautifully throughout, while Skinner, who adopts a commonsense approach to pitch standards, injects passion into every note.