Well, what goes around does indeed come around: nearly a century ago Thomas Tertius Noble, organist of York Minster (1897-1912), left to establish the choir school of St Thomas's Church, in New York, where he became the first organist and director.

The choir came with a prodigious reputation in the United States Anglican choral tradition, and it was immediately apparent why. The opening Libera Nos by John Sheppard was utterly ravishing with part-singing of the highest quality, the balance and clarity of flow in Robert Parsons's Ave Maria incredibly seductive.

Indeed, by the time the audience was treated to the magnificent Tallis and Byrd, we were firmly established in that receptive comfort zone which great performers induce (apart from that irritating acoustic "lisp" in the Tallis, that is). Both organ solo contributions, Bach and Messiaen, were impeccable, the latter virtuosic, physical and simply thrilling.

The performance of Thomas Tertius Noble's Grieve Not was lavished with the greatest of care and sensitivity, as was the interpretation of (the resolutely loyal) Philip Moore's All Wisdom, a strong work with a surprisingly funky, dancing organ-driven second/central section leading to a moving, impassioned bass solo and a closing of touching humanity and humility.

The most memorable performance was the five movements of Rachmaninov's Vespers. Here the choir's superb projection and dramatic moulding of these seriously impressive pieces was both moving and riveting. The singers instinctively got the beautifully earthy sound quality as epitomised by the wonderful solo tenor contributions and incredibly sexy basso profundo cadences.


Steve Crowther