'Can you believe it," I overheard an American student saying dismissively to his companion on a bus the other day, "When my parents come over, they wanna go hear this child choir! Apparently it's the big thing here in Ax-ford." By 'child choir' he presumably meant New College, Magdalen or Christ Church. If so, the dismissive son might be a great deal less contemptuous were he to listen to New College Choir's new recording of Messiah (Naxos 8.570131-32).

Recorded to celebrate the 30th anniversary of Edward Higginbottom's appointment as director of music at New College, it's believed to be the first time Handel's performance practice of 1751 has been followed on CD: that year the composer allocated both the chorus soprano parts and the soprano solo arias to boy trebles. Here, soloists Henry Jenkinson, Otta Jones, and Robert Brooks, all drawn from the choir, acquit themselves with admirable freshness and purity of tone.

This is the second time that an Oxford 'child choir' has blazed a Messiah trail. In 1984, when 'authentic' performances were still unusual, Christ Church Choir (then directed by Simon Preston) produced a benchmark recording, which is still in the catalogue 22 years later. Conductor Christopher Hogwood used female soprano and contralto soloists, however.

On the new Higginbottom recording, there is also fine solo work from Iestyn Davies, Toby Spence, and Eamonn Dougan (countertenor, tenor, and bass respectively), although occasionally they come close to being swamped by the responsive orchestra, the Academy of Ancient Music. The bass aria Why do the nations is an example. On the other hand, Toby Spence powers through with a thrilling Thou shalt break them.

New College choir sounds vivid and fresh throughout - and above all as if it's really relishing the music. Choruses like Since by man came death really knock you back in your seat, in a Messiah that will not pall, even after repeated listening.