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Panufnik, whose body of choral music includes a “Coronation Sanctus,” written for the crowning of Charles III, composed a “Kyrie After Byrd” in 2014 and is working on another response.

Wednesday’s Sanctus was one of divine wonderment; the Agnus Dei resonated from the lower strings with the richness of an organ.

Between the two versions of “Spiritus sanctus vivificans vita,” an antiphon by Hildegard von Bingen, for example, or between that antiphon’s simplicity and the angular density of George Enescu’s “Fantaisie concertante.”

The “Sanctus” — a fugue for double chorus — here becomes “Kumbaya,” which threads gratitude and praise through its plea for the delivery of souls.

The “Sanctus” had lively sweetness; even the ferocious “Dies irae” felt more affirming than grim.