Sheppard, J: Audivi vocem de caelo

“This set centres round one of Sheppard's bestknown four-part Masses, The Western Wynde.
Though largely syllabic in style, in accordance with liturgical prescriptions at a time when taste in church music was turning towards ever greater emphasis on the text, this Mass still has moments that recapture the earlier visionary style in all its wonder. The section 'Et incarnatus est', coming after an amazing cadence at 'descendit de coelis' in the Credo, is a case in point. 'Pleni sunt coeli' is another, and also the opening of the Benedictus, where the melody unfolds unhurriedly over the delicate counterpoint of the mean and the bass. In such passages The Sixteen is in its element, each singer relating to the others with the intimacy and mutual understanding of performers of chamber music.
The supporting programme includes alternatim hymn settings, responsories and a Te Deum.
In all these the chant is sung with excellent phrasing and a smooth legato. Some subtle repercussions in the intonation to Dum transissetSabbatum are particularly pleasing.
In all five pieces, though, the tempo of the chant sections bore little relationship to the polyphony – the least far removed being that of the hymn Aeterne Rex altissime, where the individual chant notes had roughly the duration of a half-beat of the polyphony. The English Magnificatand Nunc dimittis reveal Sheppard fully conforming to the later syllabic style in a rich and joyful texture. Here, and in the Latin TeDeum The Sixteen display to the full their glowing vocal qualities. This is wonderful singing, with a sense of freedom and flow that's almost overpowering.” Gramophone Classical Music Guide, 2010

“There can be nothing but praise for the excellence of these performances, for the quality and choice of the music itself and, most of all, for the gorgeous sound quality of these recordings made in Ely Cathedral. Add to this some eminently readable booklet–notes and we have a real winner, even if the overall aural effect bears a striking resemblance to those ubiquitous inoffensive compilation discs played in hotel lobbies the world over.
Within the basic theme of death and the soul's subsequent journey to paradise the music juxtaposes chunks of plainsong and standard cathedral choir repertoire with some rather more esoteric choral pieces. Whether it's the ancient plainchant In paradisum, Psalm 121 sung to Walford Davies's fine Anglican chant, William Harris's richly textured anthem Faire is theHeaven or the almost erotically indulgent arrangement by Timothy Brown of Steal Away, Clare College Choir distinguish it all with finely crafted and beautifully shaped performances that aren't just note–perfect but intensely perceptive as well. There's no hint of the sickliness we sometimes experience when church music is exposed to such slick professionalism on disc – rather a real sense of wonder and awe at the timeless beauty of the programme.
It's difficult to listen to the disc in its entirety without falling into some kind of soporific trance, but taken individually each piece is, in its own way, as dramatic and earth–shaking as the garish blue cover leads us to suspect.” Gramophone Classical Music Guide, 2010

“English choral music at its finest.” The Observer, 29th November 2009