THIS last concert in Swaledale itself presented a particularly interesting project combining the Fifth Quadrant String Quartet with the Benedict Biscop Gregorian Chant Choir, directed by Jonathan Adams, in a programme combining Haydn, Gregorian plainchant and some significant minimalist pieces.

The larger part of the programme consisted of most of Haydn’s Seven last words of Christ in his later string quartet version, interspersed with plainsong for Holy Week and spoken texts in English.

In some ways, this was closer to the music’s original purpose, with plainsong in lieu of sermons, but I found the switch from quartet to choir to text not entirely convincing, with the musical line rather fragmented.

The choir, which I gather was somewhat less than full strength, was gentle, almost conversational at times, and this matched the quartet, which seemed to me to produce quite a subdued sound.

The minimalist sequence began with Philip Glass’s 2nd string quartet, which consisted of four short movements, the first quite dance-like, but otherwise serious, and with two ending quite unexpectedly.

Arvo Pãrt’s Fratres 1 was also challenging, as the music did not go quite where one expected.

That cannot be said of John Cage’s 4’22’, which the audience well knew consisted entirely of silence. Except, of course, it’s never absolutely silent.

Here, there were the usual slight audience noises, even your reviewer’s soft scribble on his pad, a distant motor, the church boiler firing up, and bats flitting quietly about. Amusing perhaps, but also thought-provoking.

In between, the choir performed more plainsong before finally leading us into the churchyard for an outdoor projection by Martin Thorpe and more gentle music by the choir and members of the quartet situated among the trees and even atop the tower.