IN a concert of music spanning four centuries, the Beverley Chamber Choir, directed by Alan Binning-ton, showed its versatility.

Well-balanced vocal tone and outstanding intonation were the hallmarks of unaccompanied 16th Cen-tury anthems by Viadana, Victoria and Palestrina.

The ladies gave a fine start to Palestrina's Tu es Petrus, emulated by the men; some beautiful shaded soft singing emerged when the full choir combined.

Pieces of later vintage included Franck's Panis Angelicus, which achieved a most lovely textural sound within the second section, and an impressive delivery of Bogoroditsye Dyevo from Rachmaninov's Vespers, sung in Russian. Here the sopranos soared, dynamics intensified, and the interfusion of harmonies tingled until a pianissimo end, and a low bass sounded.

Song for Athene, by contemporary composer Tavener, was accomplished superbly. A constant bass droned beneath repetitions of Alleluia sung in subtle chromatic and harmonic figures. Tuning was impeccable, radiant climax shimmered and last bars faded to meaningful silence.

Oldroyd's Prayer to Jesus was a real gem. Those magnificent sopranos negotiated the difficult jumps of melody perfectly as they sang in unaccompanied unison, pre-empting the full harmonic ensemble.

The choir also sang Mendelssohn's Hear my Prayer, excellent soloists drawn from the group, and Mass in C (KV220) by Mozart. Solos were sung by choir members but some needed greater projection.

Organ accompaniments were played by Stephen Binnington, who performed two splendid solos also, Master Tallis's Testament by Howells and Ceremonial March by Sumsion. The latter opened in a blaze, kept a dominant pedal figure going throughout and went off in triumph - showing the Priory organ off!

JILL HOPKINS