You can tell a lot about a choir from how well they perform Renaissance works. I'm not talking about style or historically-informed performance here. I don't know how you'd even begin to go about establishing that for vocal music anyway. In the Victoria, which takes off from the Ave Maria plainchant, that is mainly the line of the chant and the points of imitation as one voice hands them off to others. At his best, his music burns like the angelic arrow that drove St. Teresa to ecstasy.
Cadences here are beautifully in tune, sweet as regret.
Hans Leo Hassler frequently incorporates folk elements into his compositions. As it happens, I first heard Kverno's music at a Dale Warland concert, so this seems to be someone Warland has championed. Although written in 1976, it has the vigor of classic modernism - strong, effective rhythm, a strong sense of movement from here to there, and not a wasted note. The music doesn't long for heaven so much as honor it for the pleasures of earth. I don't hear cherubim or would-be seraphim singing in Poulenc, but human beings.