Start with excellent singing, particularly from the two tenors (Charles Daniels and James Gilchrist) and bass (Peter Harvey) in the atrociously difficult "concerto" Duo Seraphim. Robert King wisely opts for solo voices alternating with full choir, taking full advantage of the enhanced opportunities for drama, majesty, and contrast that this affords. There's none of that wimpy one-voice-to-a-part nonsense, but at the same time, and unlike Gardiner's undeniably exciting second version, King doesn't turn the music into an antiphonal brass-fest that tends to overwhelm the vocal contributions. Certainly Lauda Ierusalem here has as much grandeur as one could ask, but there's also no sacrifice of the intimacy and warmth required by such pieces as Laudate pueri (the best version since Herreweghe's), or the gentler parts of the 7-part Magnificat (not to mention its succeeding, smaller-scaled 6-part version).

King also leads the Missa in illo tempore in a richly sonorous performance characterized by flowing tempos and a welcome range of dynamic contrast. The engineering is excellent: the acoustics of St. Jude-on-the-Hill, London, seem just about perfect for this music, offering an ideal combination of clarity and depth. A note in the booklet says that this production was paid for by contributions from Hyperion's 2005 Appeal for Recordings Funds. So I can only join the label in saying "thank you" to the many contributors who sent in funds, and I urge listeners everywhere to help the investment pay off by purchasing this set without delay. It's gorgeous, and you'll love it, even if you already own other versions of this extraordinary work. [7/10/2006]