The performances are splendid too, and not least in the organ parts, finely played by Peter Barley, in which there is a very special and characteristic beauty. The flutey pastoral writing of certain passages (''For the Lord is gracious'' in the Jubilate, ''Blessed is he'' in the Communion Service, for instance) captures, I think, Howells's love of cathedrals as buildings, in which the quiet playing of the organ so embodies the beauty of holiness. Then there is the deep bold colour of the great tuba stop at the end of the Jubilate's ''Gloria''. But how typical that ''Gloria'' is, and how finely the Choir gives bloom to the sound—''and ever shall be'', opening out like a rose-window in a blaze of light. Just occasionally in these recordings it seemed that a still more refulgent choral sound would not come amiss; sometimes there even intrudes an edgy tone, almost a rasp, somewhere among the upper voices. But no: it is a splendid record, and that includes the music not written for King's, such as the profoundly inventive Preces and Responses. There are excellent notes by Christopher Palmer, and good notes of the other kind from Stephen Cleobury in the closing Rhapsody where his playing shows a keen appreciation of the music's dramatic character.

-- Gramophone [7/1992]