Settings traditional of traditional words and tunes come with a central challenge: how to bring a fresh angle whilst remaining true to the spirit of the material? Davies rises magnificently to this challenge with an exciting setting of the traditional air. He brings simple yet refreshing harmonies throughout, casting the text and tune into a bright, new light, whilst the effective use of solo and full choir maintains interest. The introduction of the organ in the last verse helps to further build excitement, heightening to a climax as the choir sings the final line in unison before erupting into harmony for the concluding alleluias.

Given all that has come before, a great flourish is expected for the final cadence. This is expectation is reinforced by the first alleluia, building tension and maintaining momentum. However, the release of this tension is released rather unsatisfactorily in the last few chords: a greater impact could perhaps have been achieved by following the soprano line to its natural climactic ending rather than insisting on the suspension.

Indeed, a variation of this suspension a tone higher has been rather overused in the alto part. Whilst initially, it brings intrigue, after a couple of appearances the suspension becomes commodified – appearing rather more mechanically than from musical flair. This, combined with some needlessly awkward jumps for the altos and tenors in the last verse, puts a taint on an otherwise exemplary work. The greatest pity is that, this final issue at least, could be resolved simply by swapping the alto and tenor parts for less than a bar.

Despite its few flaws, this piece is doubtless deserving of a spot at Easter services of choirs both great and small.

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