ANNE Boleyn was flirtatious and ambitious, a love-hate figure at Henry VIII’s court. But she had many other passions, music foremost among them.

During her continental education, mainly at the French court, she collected songs and motets into a volume that has only recently been properly identified by Alamire’s conductor, David Skinner.

It made the bulk of a fascinating evening, which unveiled 16 of its 42 songs and motets by French and Franco-Flemish composers, spearheaded by Josquin des Prez. Alamire consisted of four ladies and seven gentlemen (no countertenors), singing with dead-straight tone.

Josquin’s Stabat Mater Dolorosa, aptly based on a secular chanson about an unhappy woman, was the centrepiece. Here Josquin’s mastery and Alamire’s expertise coincided gorgeously. The composer’s rolling counterpoint, in ever more complex metres, built into an intense drama.

Mouton’s Tota Pulchra, with male voices alone, and Brumel’s Sicut Lilium were exquisitely shaped, reflecting their texts. The textual clarity of Mouton’s nuptial motet had contemporary relevance.

There were four atmospheric interludes. Three solo songs were given, in tellingly plaintive tone, by alto Martha McLorinan, to the accompaniment of Jacob Heringman’s gentle lute. A single instrumental number made a welcome oasis of contemplation. Finally, Anne’s last letter to Henry from the Tower, was followed by McLorinan in O Deathe, Rock Me Asleep (not in the songbook, but associated with Anne), a heart-breaking plea. Byrd’s motet for Elizabeth our Queen, Anne’s daughter, made a fitting encore.

Martin Dreyer