The dynamics in particular were well-prepared, especially the flamboyant effect at the opening of Haydn's Sanctus and the fine opening of Mozart's Dies Irae.

The bass section sounded magnificent, while the smaller tenor section were beautiful when they don't try too hard.

In Haydn's Quonium Tu Solus Sanctus, the difficult fugal section was successful simply because the whole choir were relaxed, and the Mozart Rex Tremendae was also a straightforward, comfortable performance.

The altos were stolid, unfussy and reliable, but the sopranos tended to run out of voice in long high passages and sang wrong notes in the Agnus Dei and the Haydn Kyrie.

To their credit, though, they achieved some well-judged detail in the Dies Irae and soared most beautifully in the Haydn Benedictus.

For all the choir's quality, it was the four young soloists who made the greatest impression. Soprano Jay Britton has real star quality with pin-point accuracy and beautiful judgement.

Alto Sarah-Jane Lewis is a real find, rich and accurate and without that obtrusive vibrato that often spoils contralto solos.

David Webb gave a flawless and beautiful account of the tenor solos, while super-cool Michael Davis proved it's not necessary to show the audience your tonsils to achieve a rich bass sound.

The controversial decision was to dispense with orchestra and use the piano instead.

There were some benefits – in the famous Tuba Mirum it was nice to listen to the bass solo without being distracted by the trombone, and there were places.

However, brilliant as William Fergusson's playing was, in the Mozart he was overpowered by the choir.

All in all, though, this was a fine and moving concert and we look forward to the next.