The composer Carson Cooman is incredibly prolific. He uses the old-style convention of cataloging his works with opus numbers, and with this oratorio, he’s up to Op. 1342. He has written all kinds of music, but the oratorio form fits well with his orientation toward large themes and musical spaces. As We Are Changed aspires to nothing less than to depict this process: “The earth we live on does not stay still but evolves and changes; our lives are changed through our own personal struggles, through meetings with those whose difference from us becomes a teacher, with sudden catalytic events, and from the daily, determined creativity of love working and spreading outwards from our humanity.” There are two soloists, representing young lost souls. Cooman may make one think of Alan Hovhaness, or even Aaron Copland, if either had lived long enough to take note of the influence of minimalism. The music here is tonal and entirely approachable, and it is up to the listener to decide whether it has the heft to cash the checks written by its ambitions. What’s harder to dispute is that he receives an ideal performance here. Cooman is American, but the built-in familiarity of British performers with the oratorio form works to his advantage, and the smooth work of the Choir of Royal Holloway under Rupert Gough fits the music well. Even better is the playing of the London Mozart Players, rendering numerous small, quiet details beautifully. The engineering from the Convivium label is excellent, and it’s not hard to imagine a scenario in which As We Are Changed enters the repertory of choirs following the example of this fine performance.