Woodstock Music Society's pre-Easter offering was a typical mixed bag, from Debussy's sparkling Petite Suite, to the anguished Stabat Mater of the little-known Karol Szymanowski, and finally to the second part of Handel's Messiah. As always, this was a well-planned programme, offering contrasts in mood and style.

The Petite Suite, according to the programme notes, started life as a piano duet, which was later translated into an orchestral suite by Debussy's friend, Henri Büsser. The result was a delightful four-part suite that encompasses elegance, charm, reflectiveness and, in the final ballet movement, great energy. Conductor Paul Ingram coaxed a wonderfully fluid and cohesive sound from the players to give an eloquent and joyous start to the evening.

Szymanowski's Stabat Mater was a different matter altogether; an outpouring of maternal grief that was vividly captured by a committed and heartfelt performance. From the opening number, Stabat Mater dolorosa juxta crucem (A grieving mother stood beside the cross), it was apparent that the choir was in excellent voice, and determined to make every note and every word count. Soprano soloist Siona Stockel imbued the work with appropriate sorrowfulness, but needed to hit her top notes much more cleanly. Alto Rebecca Raffell had the opposite problem; her exceptionally deep-timbred voice was occasionally in danger of losing its lower register. The greater experience of baritone Henry Herford was evident in his masterful delivery; every note perfectly rounded, and delivered with a fine sense of drama.

The second half of the evening was devoted to The Messiah Part 2. There was a brief moment of hilarity on the Friday night when Paul Ingram raised his baton - and then realised he'd forgotten to bring out the soloists! Once again there was some impressive singing from the choir, which achieved a pure and well-focused sound, with some good crisp entries and impeccable diction. The Hallelujah chorus was appropriately spine-tingling, and the evening was brought to an end with a full-bodied Amen.Woodstock Music Society's pre-Easter offering was a typical mixed bag, from Debussy's sparkling Petite Suite, to the anguished Stabat Mater of the little-known Karol Szymanowski, and finally to the second part of Handel's Messiah. As always, this was a well-planned programme, offering contrasts in mood and style.

The Petite Suite, according to the programme notes, started life as a piano duet, which was later translated into an orchestral suite by Debussy's friend, Henri Büsser. The result was a delightful four-part suite that encompasses elegance, charm, reflectiveness and, in the final ballet movement, great energy. Conductor Paul Ingram coaxed a wonderfully fluid and cohesive sound from the players to give an eloquent and joyous start to the evening.

Szymanowski's Stabat Mater was a different matter altogether; an outpouring of maternal grief that was vividly captured by a committed and heartfelt performance. From the opening number, Stabat Mater dolorosa juxta crucem (A grieving mother stood beside the cross), it was apparent that the choir was in excellent voice, and determined to make every note and every word count. Soprano soloist Siona Stockel imbued the work with appropriate sorrowfulness, but needed to hit her top notes much more cleanly. Alto Rebecca Raffell had the opposite problem; her exceptionally deep-timbred voice was occasionally in danger of losing its lower register. The greater experience of baritone Henry Herford was evident in his masterful delivery; every note perfectly rounded, and delivered with a fine sense of drama.

The second half of the evening was devoted to The Messiah Part 2. There was a brief moment of hilarity on the Friday night when Paul Ingram raised his baton - and then realised he'd forgotten to bring out the soloists! Once again there was some impressive singing from the choir, which achieved a pure and well-focused sound, with some good crisp entries and impeccable diction. The Hallelujah chorus was appropriately spine-tingling, and the evening was brought to an end with a full-bodied Amen.