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No. Agree in toto.

I can't say I actively disliked it, but I expected considerably more than this.  The choral writing is up the creek, and there was too much undigested Spem In Alium in it.  I couldn't hear any of the words at all (except the unpitched chanting), which rendered it impotent and without meaning - a rather wasted opportunity.  There's a crib from Ferd Grofe's "Grand Canyon" Suite.  The scoring for the organ was severely over-prominent, and I found the textures too unremitting.  I fear that if there is any great work to arise from the tragedy of this war, this is not it.   I wish he had not used the orchestra at all, and written an unaccompanied choral work that brought the text to the fore.

When I first came across Michael Nyman's music in 1981 or so I thought he was on to something quite interesting, although his piano playing seemed a bit duff. Already by the time of Draughtsman's Contract I had the feeling that he was leaning too heavily on a limited repertoire of techniques. The music suited the film very well, of course, but again that was the last Peter Greenaway film I really appreciated. Since then it seems to me that the wit of his earlier work has given way to an attempt to look like a Serious Composer while still permutating the same few comfortable (and, yes, derivative) ideas which to my ear can't handle the Serious Thoughts he tries to articulate with them, and his piano playing seems to have remained at the same Les Dawsonesque level.

As for DracoM's comment, I'm sure (I hope) most composers can see very well how Nyman has got where he is, and some of us would have no wish to be there anyway!

No, but he had a new opera back in about 1984-85,  which was staged at the Royal Court,  which was something about political intrigues with one of the medieval popes?    It involved Opera Factory London and a lot of running around in the nude.  It died a death and I don't think has been seen or heard of again...  I believe MN no longer even mentions having composed it?

And now I have the mental image of an Ian Pace (who looks nothing like my imagination says he should) and A.N. Other leaning forward at approximately 45 degrees each, dragging Steinway Grands behind them....

Are there dead donkeys on the pianos?

(Shades of Un chien andalou, I mean, in case anyone thinks I've gone a bit odd.)

I'd guessed that the "Zoo Duet" was something from "A Zed & Two Noughts", but obviously I've got the wrong end of the stick (or piano).

Do you think "the Zoo Duet" might be a coy (or not-so-coy) refererence to the film anyhow...  considering that the film is about a pair of twins?  Some kind of nom-de-plume adopted for the recording?  The film isn't maybe considered one of Greenaway's major successes,  but I remember liking the score at the time.   You wouldn't want a dish of snails for supper after, though.