MUSIC ranging in styles over 300 years from the 17th to the mid-20th century was challenging for the choir.

In the event, together with its guests Rachel Crisp (soprano), Sebastian Field (countertenor), Nick Drew (tenor), Tom Hunt (Baritone), David Whitehead (organ), Catherine White (harp) and Sam Gerard (percussion), the choir provided a satisfying, enjoyable and, at times, moving concert.

For this listener, the first two choral items, Purcell's 'I was glad' and 'Hear my prayer' were the least convincing. His music requires a clarity and precision that is best achieved by a small group. This performance was marred by imprecision that damaged the clarity, possibly resulting from the one or two who are wedded to their score rather than to the direction of the conductor. Having said this, the full sound and excellent balance of the ensemble were apparent from the opening bars of 'I was glad'.

In 'Allegria' and 'Misererea' the choir began to settle down. An off-stage quartet, comprising the four vocal soloists, was choice and Rachel Crisp was outstanding in the purity of her voice and intonation, never faltering on the high C that features in each of the quartet's interventions. These qualities were a hallmark of her performances throughout the evening. The four soloists came together again later in the programme in a lovely rendition of Schubert's beautiful setting of 'Psalm 23', enhanced by Catherine White's accompaniment on the harp.

Each of the soloists contributed to the quality of the concert. Sebastian Field has a genuine full countertenor sound with no trace of falsetto; Nick Drew's sound is true and tuneful throughout his range and was displayed to good effect in his a capella solo; Tom Hunt's excellent voice fully exploited Stanford's 'A Song of Battle' and David Whitehead showed quality both in his solo piece and in his generally sensitive accompaniment of the choir.

The choir also sang Maurice Green's 'Thou visitest the Earth' and Edward Elgar's 'Great is the Lord'; but, undoubtedly, the major work and choral highlight of the evening was Bernstein's 'Chichester Psalms'.

The choir captured the joyfulness and the beauty of the music, and the tenors and the basses, together with percussionist Sam Gerard, are to be congratulated on the competence with which they tackled the complex rhythms of 'Why do the nations rage?'. In Chichester Psalms, performance receded into the background and the music reigned supreme.

Ben Sawyer has done a remarkable job with the Tyndale Choral Society and last Saturday evening he achieved a high standard from which he and the choir can go on to achieve even better things. I look forward to hearing Bach's St. John's Passion in November.

By Ken Harrison