But just as the pulse of life must be kept unebbing, so too must the meter in the grand statement of Palestrina's Ascendo ad Patrem, for only then will its dark suited air of age and religioso be captured in performance. In addition, large arrangements such as the Hodie Christus natus est Track 3, comes across thin and the double choir effect is lost despite engineering.

The Cambridge Singers will need a lot more vocal purity to come close to medieval music ensembles such as the Tallis Singers in their performances of music in this genre. However, that would also mean losing its current versatility. The Cambridge Singers have achieved here a successful compromise by positioning themselves in a less confined niche with their more natural sound.

Collegium has chosen a very neutral and admirable stand in the production of this obviously sacred music. In the notes to this album, it states that "the aim is not a liturgical reconstruction, nor a historical survey, but rather a journey of the imagination." In truth - it achieves all three with works spanning 1525 - 1992 (and possibly earlier, since Gregorian works are included); i.e. from Palestrina to Messiaen. Such an intelligent and at 72'24'', generous programme!

For the most creative of musicians, prayer and religion has eternally been a source of greatest inspiration. Faith is deep and pride is silent in those who toil in the image of Christ. These feelings are nonetheless not confined to one race or religion. Just as the perfection of an incomplete cadence evokes sublime joy in the musically initiated, the universal yearning for deliverance is the perpetual bitter-pill of the awakened existence.

Surely Palestrina, Victoria and other Italian masters must understand this for in their music we hear eternal shifts of choral polyphony evoking moody sheets of life and colour. Interweaving from one centre to another and lumbering towards its final perfect cadence - the perfection of everlasting life.