Ryedale’s triple concert, now a festival favourite, is like a three-course meal. The surprise comes in the order of the courses. Three groups of performers do their thing three times; the audience, also in three groups, walks to each in turn.

The Press was allotted Bartók as starter, Dowland as entrée and Schubert for dessert. Bartók’s Sonata for Two Pianos and Percussion made quite an aural assault in the wide-open spaces of the Long Gallery.

But the Eaton-Young Duo, some tactical looseness in the Lento apart, kept a taut rhythmic rein and were nimbly supported by Owen Gunnell and Patrick King in the kitchen-sink department. All four found extra fizz in the witty finale. An effective appetiser.

There was plenty to tickle the palate, too, in the Chapel, where countertenor Iestyn Davies and lutenist Thomas Dunford (playing the longer-necked, more resonant archlute) laid on a tasty selection from our first great songwriter, John Dowland.

Especially poignant was Flow, My Tears, heard in tandem with its lute equivalent, Lachrimae, the voice infinitely melancholy, the lute at once redolent of a more leisured, courtly age. Davies’s bountiful musicality allowed him to make refined play with the tempo of In Darkness Let Me Dwell; Dunford’s delicate ornamentation of the King of Denmark’s Galliard announced him as a rare talent. They were superbly matched.

So to the Great Hall, where the Heath Quartet provided a sumptuous finale in Schubert’s A minor string quartet, D.804 (‘Rosamunde’). The intimacy of most of the opening made its accents all the more urgent, but they emerged logically and the movement remained deeply elegiac.