I have always loved Carver’s nineteen-voice motet for its easy navigation between intricately decorative figures and large-scale tutti acclamations that are both grand and serene at the same time. The soaring treble lines, the wide range in general, and the largeness of the “canvas,” easily remind one of the earlier Eton Choirbook . . . obviously Carver’s Scotland was no stranger to sonic display that so graced England in an earlier generation.
