SCUNA’s concert, under the direction of Andrew Koll, was evocative, mysterious and ethereal. In the cavernous space of St Andrew’s, the choir’s polyphonic voices were angelic and expressive – almost trance-like.

Of particular interest were the three settings of “O Magnum Mysterium”, two from the late Renaissance and one from the 20th century. The best was the latter, by Morten Lauridsen, developing a beautiful sense of introspection and reflection.

The major offering was seven movements from Rachmaninoff’s “All-Night Vigil”, also known as “Vespers”. The Russian themes are unmistakable, especially those rumbling basso profundo notes, which the men delivered perfectly. The soloist, Sarahlouise Owens, sang ably in soprano and alto registers, in confident control of her quite strong soprano voice. It was never forced, always carefully nuanced.

The accompanist, Anthony Smith, played two solo pieces by Rachmaninoff – a prelude and an etude, both difficult works. His assured and expressive playing drew well-deserved enthusiastic applause. Through no fault of Smith’s, the sound of the upright piano, which was no slouch, was strangely muffled, lacking the sparkle and clarity that would add an extra dimension to these pieces.

Another instrumentalist, clarinettist Hannah Freedman-Smith, was featured with Smith and Owens in a song by Schubert. They gave his trademark lyricism a lovely interpretation. It’s a pity we did not hear more from Freedman-Smith later in the concert.

The timing of this concert was perfect, not only for the material presented, but because it offered a welcome respite from the madness of the season outside.