WITHOUT a strong thread tying it together, a themed concert programme can easily appear cobbled together.

When it works – as it did at Unitarian Chapel on Saturday – it offers welcome food for thought. The Ebor Singers’ spiritual exploration of light and darkness boldly married contemporary and classical, with five centuries represented.

The ensemble hit the ground running: focussed in Tallis, strident in Ward. Beyond simply filling the building with their well-blended sound, the singers seemed intent on designing their own sonic architecture: tapered edges in Bach, graceful arches in Rheinberger. Paul Gameson was an attentive helmsman, teasing out musical shape.

A leap into the twenty-first century provided spine-tingling moments, the initial echoes of Paul Mealor’s ‘…And Profoundest Midnight…’ distorting and ascending to a searing climax. Withholding applause between pieces – as requested – suddenly proved very difficult.

A brief return to older repertoire proved a struggle, slips in pitch and tone throwing the ensemble off balance. Composure was regained: Rautavaara’s Ehtoohymni entranced with exotic harmonies, and a new commission from Eve Harrison spotlit assured soloists.

After the interval, Kerry Andrew’s richly varied Dusk Songs breathed new life (and new sounds, gong included) into liturgical traditions. With the chapel space utilised to dramatic effect, a series of exceptional solo turns brought sharp focus to mercurial music.

Overall, a successful theme. Whether old and new were happy to be bedfellows on this occasion is hard to say; that they’re sharing a bed is important, though. And when a performance is this engaging, who cares?

- Richard Powell