This programme of Patterson, Parry, Vaughan Williams, Bach, Walton, Marshall and Stanford was one that required both enormous power and extreme subtlety at times. Whilst there were moments in which this was certainly masterfully achieved, there were, disappointingly, also a few points during the concert at which I felt the choir failed to match up to the brilliant playing of Prime Brass.

The concert opened with a fanfare by Patterson, which used the melodies of ‘Rule Britannia’ and ‘The Marseillaise’ amidst sparkling trumpet flourishes which echoed around the chapel. The players’ precise tonguing meant that not too much of the sound was swallowed up by the echo, ensuring we heard a sound that had a crisp attack and a ringing, bell-like quality.

Unfortunately, the choir seemed to lack the real spirit and power necessary for Parry’s ‘I Was Glad,’ especially the sopranos, and I had the impression that conductor Stephen Cleobury’s efforts to urge them on were somewhat in vain. However, by the time they arrived at the final item, the Patterson Magnificat, the choir really pulled out all the stops, finishing the concert triumphantly.

Despite this flat opening, there were also some moments of calm, still beauty that were very effectively conveyed by the choir. These were especially evident in Walton’s ‘Coronation Te Deum,’ although the stillness of the ending was slightly marred by a fluffed trumpet entry.

Worth mentioning especially was organist Alex Berry’s rendition of Bach’s ‘Pièce d’Orgue BWV 572’ in G major: he made the extremely intricate opening sparkle with vitality, with delicate fingerwork and flawlessly even rhythmic control.

In all, the concert was an impressive one; more often than not, the balance between choir, organ and brass was skilfully managed. The fantastic brass playing aside, though, the lack of energy from the choir left me feeling unfulfilled.