After
Regina coeli I, the second setting of the same text seems suffused with a kind of quirkiness much more often associated with the composer. Moments of harmonic pungency and rhythmic fitfulness, along with a brief, high passage in fauxbourdon-like parallel motion, pepper a setting which, though lacking the suavity of its companion piece, yields nothing to it in character and inventiveness.
from notes by Andrew Kirkman © 2000
