Perhaps this publication will boost their popularity, for the music is of singular beauty. This is Victorian church music in the best possible sense: it contains grandeur, stateliness, and counterpoint nearly worthy of Brahms, while avoiding the excesses of the era. The harmony is reserved rather than decadent, and the musical effects are natural rather than contrived . . . The Magnificat is expansive and lengthy, full of souring melodies and an attention to architecture that foreshadows Stanford. Both canticles conclude with the same extended Gloria Patri bringing each to a thrilling finale. * Jason Overall, Journal of the Association of Anglican Musicians, September 14 * Peter Horton's preface makes reference to William Husk's observation that Smart was interesting if unoriginal. That's probably true, but the same could justifiably be said about much music written for the Anglican church. Smart in G evening canticles are just that. It would be overstating the case to claim that Smart in G was an early-Victorian masterpiece, but given the competition (Wesley in E aside) it's as good as it gets. * Jeremy Summerly, Choir & Organ, March 14 *
