Writing in the Times Literary Supplement in 1966, Lennox Be rkeley addressed directly the issue of producing sacred works: ‘How, it may be asked, does a composer approach the task of writing religious music? Does he adopt a different tone of voice, or use a special idiom? I would say that in the case of music that is religious in subject matter but intended for the concert platform there is no problem. I cannot imagine that any composer in these circumstances would want to modify his ordinary musical idiom’. Berkeley’s distinctive voice is indeed utterly recognisable throughout the three religious concert pieces conside red here, but in a heightened and intensified form. The palpable fervour and sincerity of these scores secures them a place amongst the very finest examples of his art.