In the interview, Giuseppi Maleto directs our attention to the words "Genitum, non factum, consubstantialem Patri, per quem omnia facta sunt" in the Credo. This is an example of where the writing is particularly complex, and he thinks that it was meaningful for of all sorts of neo-platonic reasons inaccessible to a modern audience, and that his kaleidoscope of timbres help the modern audience recognise the complexity.
Listening to it, I did feel that that the 20 seconds of music seemed more of a major event in his recording the in Summerley's or Hilliard's. And that was due to the complexity being more obvious.
More generally, I think that the CS Homme Armé is more extrovert than my other two recordings, more showy. And sometimes it sounded like a piece for brass with vocalise accompaniment.
And even more generally, the whole discussion has reminded me of Hans Zender's transcription of the Schumann Fantasie, which I think is interesting. Zender tends to give each motif its own orchestral timbre - the result is quite revealing IMO.