The concert burst into life in Haydn’s dramatic motet, Insanae et vanae curae: the music is utterly compelling and the performers hit the ground running with a gripping, accurate account.

Though not overtly dramatic, the demands on the solo performers in the opening vivace of Bach’s masterly Double Violin Concerto are pretty relentless and young violinists Sophie Lockett and William Dutton responded with style.

The violin lines complimented each other beautifully, with never a cross word between them.

Then the heavens opened as the players serenaded, seduced each other in that most divine of slow movements: the playing gorgeous and compelling. The understated orchestral playing throughout the three movements was perfectly judged by conductor David Pipe. Mozart’s lovely Laudate Dominum offered another young performer, soprano Bethany Seymour, the chance to shine and she took it beautifully with a faultless lyrical performance.

And then spotlight switched to the choir. The Kyrie fugue at the beginning of Mozart’s Requiem is a big beast and the choir responded magnificently, the entries strong and clearly articulated though it was difficult to hear real clarity with such complex music in that acoustic.

The Dies Irae was powerful and very exciting from both choir and orchestra.

The soloists – Bethany Seymour, Cara Curran (contralto), Peter Davoren (tenor) and Oliver Dunn (bass) – were excellent and a very fine ensemble as evidenced in the sublime Benedictus.

The jagged rhythmic playing in Rex tremendae as well as the driving, pulsating string playing in the Domine reinforced the strong orchestral contributions throughout.