The Surrey based chamber choir Excelsis, conducted by Robert Lewis has been joined by the London Mozart Players for a disc of sacred choral works by Clive Osgood.  The six movement Dixit Dominus that opens the disc has some rich string writing, with a particularly plaintive solo violin part in ‘Virgam virtutis’.  Osgood effectively mixes relatively straightforward, lyrical settings with moments of more active rhythmic interest, such as in the lively ‘Dominus a dextris’. The Exclesis singers make a strong sound, and their diction is always clear and precise, with solid tuning and smooth ensemble. They could perhaps be more nimble in the cascading lines of the closing movement, ‘De torrente’, but otherwise their command is assured.  Excelsis are joined by soprano Rebecca Moon for several of the works, including a highly effective setting of Beatus Vir, in which rich choral textures underpin Moon’s souring lyrical line.  The more austere Hymn to the Word adds horns and harp to the orchestral accompaniment, contrasting fuller orchestral textures with passages of assured unaccompanied singing, and the work blossoms to a warm, more settled conclusion. The Peace of God, included in both settings for choir and piano, and choir and orchestra, is indeed peaceful, and the singers enjoy the smooth lines and warm harmonies, with tinges of the modern American styles of Lauridsen or Whitacre.  Brightest and Best on the other hand, with the choir joined again by Moon and the unnamed pianist, is more in Rutter territory, with its lilting triple-time rhythmic flow.  Miserere floats a high soprano solo line above the choral textures, with brief sections of chant delivered well here by the tenors.  Rejoice in the Lord Alway that concludes the programme is appropriately joyful, with brightness in its quirky addition of a solo oboe, and the singers and Lewis clearly enjoy the unpredictably offbeat rhythms.  Whilst a whole disc of choral works by a single composer does provide a good overview of their output, the downside is that there is a certain homogeneity of soundworld here, which is essentially lyrical, tonal and homophonic, with no major harmonic surprises, and seldom use of more polyphonic writing. However, many of the pieces here could be, and I am sure will be easily embraced by choirs of all abilities who are looking for new repertoire.