THERE were no empty seats for Karl Jenkins’ The Armed Man and John Rutter’s Magnificat.

Jenkins has found a way to reach the widest possible audience without falling into “light music” styles.

The first movement, based on a 15th century popular song, left us in no doubt that we were in for a disturbing and moving experience.

The splendid brass and percussion of the Pro Musica orchestra led to a frightening crescendo with the 180-strong choir competing with the wall of sound in front of it.

Jenkins’ use of high soprano parts was exploited effectively by the choir, whose overall balance was excellent. The Call to Prayers was sung by the choir’s inspired conductor John Dunford.

What follows is growing menace, starting in the Kyrie and Sanctus and culminating in Kipling’s Hymn Before Action making war inevitable.

The shout at the climax of the battle was truly terrifying.

Central to the work is a setting of a poem about the horrors of Hiroshima, and Charlotte Tetley’s serene and grief laden voice was ideal.

There were many highlights, not least the beautiful unaccompanied singing in the final affirmation that change is possible and “sorrow, pain and death” can be overcome.

Soon after facing the horrors of war, performers and audience were thrown into the joyous Magnificat.

Here, English pastoral idiom is juxtaposed with Gregorian Chant and syncopated rhythms associated with festivals in Spain or Latin America.

These rhythms are easily achieved by a small number of singers, but the choir and soprano Sophie Pullen rose to the challenge and achieved clarity and control in this joyous celebration.

John Furniss