Bath Bach Choir, Bath Abbey: Jenkins and Handel

Karl Jenkins' music, as the programme noted, arouses widely differing reactions: and this setting of the Stabat Mater, premiered in 2008, is no exception.

It is, as one listener remarked, immediately recognisable as Jenkins, from the broad melodic lines and rousing climaxes. But there is also a feel for the deep emotion of the words, treated with imaginative respect and evocatively striking contrasts. In particular, the solo part, sung with amplification by 17 year old Annabel Jones, in her final year at Wells Cathedral School, is a remarkable fusion of styles, ranging from Middle Eastern chant to ballad. And she was brilliant, composed and musically balanced, giving these very different texts authenticity and serious vocal quality.

The choir, in unfamiliar territory too, handled the sweeping choruses and rhythmic movement with verve and dexterity. The sound was well-modulated, showing a good understanding of the relationship between text and music: and the sopranos especially showed us a freshness and confidence at the top end which was very impressive. The players gave consistently helpful support and the use of the percussion is a notable insistent feature of the scoring. The final Paradisi Gloria brought this interesting and challenging piece to a powerful climax. I'd like to hear it again.

Messiah Part 2 was a thoughtful choice for this Lent season, containing, as it does, some of the finest choruses and arias – though eyebrows were raised at the Amen chorus from Part 3 following directly on from Hallelujah. We might perhaps have had Worthy is the Lamb, but no doubt time was a factor here? And this was an accomplished performance, the sopranos again leading the way, but the whole sound was full and very satisfying – though the acoustic was not always helpful. Soloists Marilyn Archer, Penelope Davies, Anthony Gregory and Simon Trist were in good voice: I particularly enjoyed Penny Davies' warm, bronze alto and Anthony Gregory's clear incisive tenor. The Sinfonietta, led by Richard Studt, were impeccable, some fine string playing, ebullient brass and plangent woodwind giving the singers confidence and considerable – sometimes overly con sforza – in the climaxes. Marcus Sealy provided the organ continuo. Conductor Nigel Perrin produced an excellent result from his singers and players, well paced, trenchant and full-bodied: a very satisfying evening.

Peter Lloyd Williams