THE acoustic here suited The Sixteen better than York Minster where I heard this programme in July. This time on the group's choral pilgrimage, individual parts stood out more clearly and the building enhanced rather than flattened the sound.

The cathedral was full for the pre-concert talk and expectant of the ultra professional performance of early English polyphony from the late 15th and early 16th centuries.

Sheppard's Gaude,gaude Maria was a glorious display of elegantly rising and falling lines, light and shade clearer than in York. At nearly 15 minutes long, it is a feat of sustained musicality and was enthusiastically received.

Mundy’s Adolecentuus sum ego had beautifully clear diction and was more subdued, leading to Davy’s O domine caeli terraequae creator with its verse structure of full voices alternating with two, three or four voice ensembles and long melismatic passages.

This long and complex piece has perhaps greater academic appeal than something that directly affects an audience, perhaps because The Sixteen has performed it many times. I felt Harry Christopher’s somewhat florid conducting style unnecessarily intervened between audience and performers and was slightly distracting.

The second part started with a glorious piece of Sheppard – Libera I and II – emotional, direct, deceptively simple. An occasional quieter passage with more reflective reverence would have made the performance even more affecting.

A reduced choir from 18 to ten then lent even greater clarity to Sheppard’s In Manus tuas I, creating a moment of stillness at the heart of the concert.

Davy's Ah, mine heart, remember thee well, the only piece sung in English, was an episodic plea of penitence. It led to Sheppard’s In manus tuas III, a simply beautiful piece, beautifully sung.

Mundy’s long setting of Vox patris caelestis ended the concert with its paean of praise to Mary Tudor which experts think was performed at a pageant in 1553. Sentiments, politics and voices interweave within small and full group passages. It is complex, demanding and contains a reference to a turtle dove, as in the title of the concert.

The Sixteen continues to perform early, complex polyphony and plainchant inspired work with utmost professionalism justifiably earning a loyal following and capacity audiences.

Sue Shaw