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This gorgeous work is in the repertory of many choruses.  The harmonies keep evolving, and there are some cross-relations (e.g., F sharp against F natural): don’t be surprised by these.  Breathe at all punctuation marks in the text.  Patience is needed at the beginning; there is seemingly no motion in measure 1, and the piece evolves slowly.  There are some striking uses of cross-relations between the parts. They are intentional.  Draw out the musical lines.  There are several possible orchestrations for recorders, but the best is  A(8vo), T, T, B. 
-- Peter Seibert