Whether it was the miserable weather or the fear of a programme of "modern" music which kept people away from the concert by Tyndale Choral Society at Dursley Parish Church on Saturday November 13th, they missed a wonderful evening of music.

The programme of pieces by Britten, Janacek and Bernstein was an adventurous choice, but the choir, under the direction of Michael Power, rose to the challenge with great success. Although the choir is smaller than in recent years, this has in no way detracted from the quality of the sound produced, and, if anything, has improved the precision and balance and total ensemble.

The concert opened with Britten’s "Rejoice in the Lamb", and, right from the start, we heard the choir at its best; controlled singing, both unison, harmony and a capella, and with excellent dynamic contrast and diction. Immediately, one was aware of the considerable and detailed preparation which had gone into this confident and exciting performance. Here too we had our first opportunity to hear the soloists: Alison Wood (soprano) whose clear, pure voice was excellently suited to the demanding treble solo and Jonathan Milton (counter-tenor) who gave a smooth and unstrained performance. Graham Walker (tenor) and Kevin Hollis (bass) are young men with a promising future, but we did not hear them realise their full potential because of the limited opportunities presented by the programme.

The Janacek Otcenas (a setting of the Lord’s Prayer) presented very different challenges; again met confidently by the choir. The piece contains difficult melodic and rhythmic passages, and demands good control of dynamics and great contrast of mood. All were handled with panache by choir and conductor alike. The soprano soloist’s voice was again well suited to the piece, although in places, a greater warmth of tone would have added to her performance.

Last, the Bernstein Chichester Psalms, a beautiful but very demanding piece both melodically and rhythmically, and sung in Hebrew! At the start of the piece was the only moment when some uncertainty and tension crept in, caused mainly by a slight lack of ensemble between choir and organ, and percussion (played by Diggory Seacome). However, this was quickly rectified, and the performance grew in strength and confidence. It was good to see to choir watching the conductor closely for his clear direction! Here again, we heard the excellent dynamic range and control of the choir and some very difficult but precise unison singing.

Finally, praise must go first to Mark Lee (organ) and Alison Martin (Harp) for their sensitive and very supportive accompanying of the choir, and the tour de force of staying together musically while physically far apart. This, of course, was made possible by the precise direction of the conductor, Michael Power, and it is to him that congratulations must go - for his success in directing the whole concert, and even more for his training and preparation of the choir.

It was a pleasure to be in the church to hear a concert of music performed to such a high standard.