Magnificat & Nunc Dimittis (2016)

"The short, unaccompanied setting of the Magnificat has identifiable Frances-Hoad fingerprints, piquant harmonies, chromatic twists and turns, a degree of rhythmic freedom. A beautifully read second lesson precedes the Nunc Dimittis, which contrasts the lowest range of the men’s voices with the highest range of the children’s; it swells and fades most movingly."

"The Magnificat was unaccompanied, and had unison lines developing into complex textures, a striking mix of magical harmonies and unisons, to create something lyrical, thoughtful and rather effective. The Nunc Dimittis started from a low drone with a slowly rising line over developing opaque harmony, and then…the choir line rises strikingly."