In a programme stage-managed engagingly, conductor Jeffrey Skidmore, beating a large drum, led his esteemed ensemble through the auditorium singing Hanacpachap cussicuinin by J C Bocanegra, an early polyphonic processional ritual.

Thus began a concert of largely unknown 17th Century music of Latin American culture, embracing diverse influences of language and rhythm.

The ten accomplished singers, many heard in short solo episodes, were accompanied as required by two violins, a theorbo or guitar, and organ. The musicians' tuning was impeccable throughout the concert, as was precision of musical phrasing and breath control through long lines of legato.

Within Ut queant laxis, by Juan de Araujo, strands of voices were clear always.

We heard superb unison singing in Salve Regina by Hernando Franco, then bouncy folk dance rhythms in A este sol peregrino.

A magnificent realisation of Dominico Zipoli's Missa San Ignacio, with a Kyrie of lively polyphony, as singers wove long vocal runs interspersed with instrumental ritornello; and a Gloria of magnificent harmonies. All fulfilled the composers' ideal requisites.

In Convidando esta la nocha by Juan Garcia de Zespedes, percussion echoed dancing rhythms while the ensemble became more and more excited singing So thanks be to God, oh, because we've finished, oh! An encore of a gentle jungle piece closed the concert.

In a performance of near-perfection, one should be ultra-critical: a wider range of dynamics from a microscopic pianissimo to a resounding fortissimo, could enhance performance even further.

Jill Hopkins