"The composer's genuine gift for illuminating and embellishing texts was instantly in evidence. 'The Buzzard', which opened the cycle, used liberating, outspread intervals to illustrate the awesome, swooping bird. The brooklet in 'Summergil', which 'ingratiates the birds', was laced with filigree ornithological ornamentation, whilst the final, spacious setting of 'Radnor (Old), Church and Harp' created a movingly nostalgic, but valiantly unsentimental evocation of the area's lost glories. Unostentatious and refined, McDowall's vocal lines and accompaniments were alert to the meaning and nuance of the poems, so that musical ideas grew naturally from them. 'Radnor Songs' was a model of how to give insight into words through music, as opposed to paraphrasing or merely adorning them."