Fauré and Rutter . . . two composers who appear to have little in common. But the Burford Singers’ concert last weekend made sense of this pairing, as their performance of Fauré’s sublime Requiem was Rutter’s edited version of the original orchestration. Rutter’s vibrant Magnificat was sandwiched between the Requiem and Fauré’s early Cantique de Jean Racine, providing a wonderful contrast.

The Cantique, an evening prayer written by the composer at the age of 20, was a lovely opening, and the choir gave a simple, moving performance, with some finely articulated phrasing and detailed attention to diction and dynamics. Switching adroitly to Rutter’s change of mood, they handled the Magnificat with joyous enthusiasm, the opening Magnificat anima mea being suitably stirring, but with tender moments, too, such as in the dreamy Esurientes. Soprano soloist Mary Bevan, singing from the pulpit, had some wonderfully expressive moments, and conductor Brian Kay ensured a palpable cohesion between soloist and choir. The programme noted that Rutter set out to capture the carnival atmosphere that pervades the streets of countries like Spain and Mexico during feast days of the Virgin Mary, and this performance did full justice to Rutter’s intentions, reflecting that spirit of “outdoor celebration” which was, Rutter says, “somewhere in my mind as I wrote”.

But the best offering, arguably, was saved for the second half. It was Fauré’s Requiem that drew me to this concert, and I suspect that was the case for many others in the audience. The appeal of this captivating work lies in its tranquillity, its rich melodic lines and its lush orchestration. Both choir and orchestra clearly relished every note, while Mary Bevan and baritone George Humphreys contributed some eloquent and moving solos, the soprano Pie Jesu being a particular highlight.

Once again, the Burford Singers and the Cotswold Chamber Orchestra demonstrated a deep commitment that ensured a stirring experience for all.