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RE:麓贸录脪露录掳庐脦脪掳潞
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</a> But despite the group’s fervent and subtle rendition of the older pieces, it was MacMillan’s music that spoke most directly. His pieces glowed with a similar controlled fervency to Palestrina’s, and expressed a similar fundamental humility. But there was just enough surprise and tension to register on contemporary hearts and minds. The subtle rise and fall of tension in his Miserere was a marvel, and so much more moving than Allegri’s static and repetitive setting. The most affecting piece was his Videns Dominus, a setting of the story of the Raising of Lazarus. The subtly paced repetitions and the trembling, oriental-sounding lines evoked a shiver of something miraculous, and harked back to a form of church music older even than Palestrina.
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