CLASSIC CD :
In a blindfold test, surely few listeners would guess this music was composed by English modernist Michael Finnissy, proponent of so-called New Complexity. His motets display a lyrical modality redolent of plainsong, and on a first listening they appear rather conservative. But the sleeve-note by fellow composer Christopher Fox explains how, far from moving into the territory of "faith minimalism" occupied by Pärt and Tavener, Finnissy is bringing to the surface a strand of Christianity present in his work since the 1960s, though intensified more recently. Certainly the music is rather medieval-sounding, despite some vibrato-laden singing especially by the female members of Voces Sacrae. Sometimes an Eastern or Byzantine influence is apparent, at others the music is reminiscent of cantillation. This is not Finnissy at his most strikingly original perhaps, but still an intriguing facet to the work of this important contemporary composer. Another enterprising release in Metier's Finnissy series, featuring impressive singing by Voces Sacrae.
Andy Hamilton

SUNDAY TIMES :
This is METIER's third Finnissy release and may surprise those acquainted only with his transcendentally difficult instrumental music. His motets have an apparent simplicity, a devotional serenity, an authenticity in their use of plainchant that make them hard to distinguish from works written centuries ago. They are indeed meant for liturgical use, and are beautifully re-created by nine young professional singers. The texts are Marian hymns and Gospel narratives in alternating sequence and recount the life of the Virgin. The hymns are the more extrovert, with lines that soar ecstatically and evoke eastern cantillation. Elsewhere the contrapuntal textures are extremely subtle and smooth. These are not, though, stylistic parodies. Finnissy's modern hand can be detected in numerous twists of phrase and harmonic nuances, and the nearest analogy is probably with Stravinsky's recomposition of Gesualdo madrigals. Fans of Tavener and Gorecki should find enjoyment here.
Paul Driver

GRAMOPHONE:
Anyone thinking that the sacred choral genre calls for a dilution of Michael Finnissy’s musical focus is in for a surprise. Idiomatically conceived, these motets traverse a variety of liturgical techniques with a concentration and lucidity that compel admiration. The ambience of Exeter College, Oxford makes a beneficial contribution to the performances.
Richard Whitehouse

THE GUARDIAN :
Play these substantial choral works to unsuspecting listeners, and few would identify the composer. Michael Finnissy is associated with a rhythmically complex, rebarbative style - torrential volleys of notes in his writing for piano, layers of texture in his orchestral pieces - but the starting point for the 1991 Sacred Motets is plain-chant, and modal inflections give it more kinship to Pärt and Tavener than to Dillon and Ferneyhough. The texts alternate prayers and Marian hymns, and setting seem utterly timeless.
Andrew Clements

CLASSICAL SOURCE:
This Metier recording offers a crystal clear production. The voices penetrate the ear with an ambience and clarity that easily transforms the listener from the present to a Renaissance Burgundian court as the sometimes highly complex contrapuntal lines float teasingly in a viscous sap. Dynamically, perhaps the recording lacks some colour, appearing sometimes as a monochrome although the phrases are expertly executed especially in the solo voices. Plosives and sibilance are eradicated without any loss of the intricate and ornate part writing resulting in a wonderfully spacious recording - undoubtedly great value for money at a mid-price range.
unknown reviewer