Peter Moger’s notes, which I fully recommend, end by summing up that the map of English congregational song changed dramatically in the final 30 years of the twentieth century, largely because of a charismatic revival across all mainstream denominations. Moger highlights the polarisation of styles and the ongoing development of the worship song as a genre, which he perceives as more akin to a performance song than something intrinsically congregational. Therefore, discs like this one from Merton College's Girl Choristers, that celebrate a tradition that has enhanced Christian worship for hundreds of years, are to be welcomed ... Benjamin Nicholas has put together a lovely selection that will be thoroughly enjoyed. Of course, there are the pot boilers you would expect, and it is not all loud organs, brass, descants, and last verse harmonies, although there are plenty to savour. ... There is so much to appreciate in the arrangements. Nicholas has made sure there is plenty of variation. The blend of the voices is superb, whether it is the treble lines singing on their own as in the beautiful O worship the Lord, with that wonderful line ‘Mornings of joy give for evenings of tearfulness’, or the tenors and basses and an excellent bass solo from Joseph Rhee in Vaughan Williams’ I heard the voice of Jesus, in a terrific arrangement by Robert Quinney ... Nicholas’ choir is in fine fettle; the girl choristers perform with distinction; the blend between the different parts is lovely; and the diction is excellent ... The organists Owen Chan and François Cloete create the perfect cushion, demonstrating what excellent accompaniment sounds like. Cloete plays Jerusalemafter Elgar's orchestral score, which is great ... There will be another generation for whom this disc will undoubtedly warm the cockles of their hearts and bring back many wonderful memories"