MusicWeb International (Jun2019): This is a strangely mixed bag of pieces, some of which work very well and some of which do not. The title of the disc is derived from the famous if ambiguous poem by George Herbert, which is included here in an atmospheric setting made in 1995 by the American composer David Hurd. Another 20th century American work is Leo Sowerby’s setting of verses from Psalm 121. With its fresh-faced, clean-shaven sound, the choir of Wadham College Chapel makes the ideal sound for this kind of repertory, with Bryony Melvor a truly captivating soprano soloist whose diction is absolutely impeccable. Katharine Pardee’s carefully-shaped and neatly-tailored phrasing also brings out the essential simplicity and charm of these pieces, and in the Sowerby Julian Littlewood provides a wonderfully smooth and comfortable accompaniment on the chapel’s newly-restored Willis organ.
But the best single performance in my opinion is Robert Parsons’ well-known setting of Ave Maria. Here the choir traces the texture with such precision, such admirable tuning, such ideal balance and such obvious commitment that I rather wish they had confined themselves to early repertory rather than cast their net as wide as they have.
In the middle, there are pleasing performances of Holst’s I Love my Love and Bob Chilcott’s My True Love, although the bright polished sound and precisely manicured lines have the feeling of choir drilled for competition, with flawlessness of tone smothering any genuine sense of musical involvement. There is no doubt that this is a highly accomplished vocal group, and the technical challenges of Gabriel Jackson’s Magnificat with its little Celtic ornaments, are superbly met..... (selected extracts)

CLASSICALMUSICDAILY (July19): The Chapel Choir of Wadham College have chosen two contrasting themes in this recording, those of impressive Parisian splendour - of a 'sensuous nineteenth-century sound-world' as the cover notes put it - and that of a more intimate unaccompanied choral evocation. The choral sound is well produced, if at times lacking in cohesion, and the interpretations at the hands of Katharine Pardee are well handled. The music of Vierne and Guilmant is often fulfilling, and the choir complements the organ with a clear and capacious resonance.