DESPITE competing choral events in the city, the Winchester-based Ashton Singers drew a good audience for a concert in aid of the medieval window repairs at the cathedral.

Singing in the intimacy of the Quire the singers displayed their long-standing rapport with early music offering well balanced voices in up to six parts, tasteful dynamics and avoidance of over-driven tone.

There was purity in two Monteverdi motets and poignant, almost Romantic, dissonances in a remarkable Lenten responsory by Kuhnau – a predecessor of Bach in Leipzig.

The whole second half was devoted to the beautiful Passion-tide cantata sequence Membra Jesu Nostri by Bach’s mentor Buxtehude.

Published in 1680, this music was accompanied by two violins and continuo plus a viol consort in the sixth cantata.

Choral writing in up to five parts included an elaborate extended Amen providing a rich conclusion to the seventh and final section.

Special praise is due to the five vocal soloists drawn from the choir who shouldered a substantial part of this moving work.

Their projection, clarity, intonation and authentic ornamentation were totally professional and a credit to conductor and choir founder Julian Macey.

His direction, including nuanced dynamics and phrasing throughout the evening, gave complete stylistic integrity to a skilfully conceived programme.

Additional items from seventeenth century Germany were supplied by the internationally recognised Rose Consort of Viols.

Here was music only a little later than the architecture surrounding the five players who, along with the other instrumentalists, made impeccable contributions to repertoire so apt for Lent and Holy Week.

Derek Beck