Bach’s Mass in B minor is rather like Mount Everest. There comes a time when a choral society needs to make the attempt regardless of the cost. For Battle Choral Society there was much to commend. The soloists were well balanced and individual solo items impressed throughout. Gary Marriott’s Benedictus qui venit, and Louise Winter’s Agnus Dei were particularly effective. The orchestral playing was frequently delightful. The oboes in Et in spiritum sanctum were mellifluous throughout.

Rachel Firmager’s cello continuo was a highlight of the evening for me. Not only was her playing of great beauty but she frequently held the tempi together at times when other parts of the ensemble were not as precise.

The acoustic in Christ Church does not help mass choral singing, which needs to be particularly precise if it is to bite. While individual sections of the choir could make a vibrant impact – the basses often forcefully so, and the sopranos holding the top line with ease – the overall sound was often confused and at times muddy. Entries were frequently missed and Bach’s crisp counter-point was lost. Part of the problem may have been the tempi set by John Langridge, which for most of the time was slow, making it difficult to feel the rhythms which are dance-like and need that level of enthusiasm to ring out.

The great setting of Dona nobis pacem rolled towards its climax on a wave of fine playing from the orchestra and a choir giving their all. BH