There is a modesty to the title given The Ensemble Singers? concert at Wesley Methodist Church last Sunday afternoon ? ?A Concert of Christmas Music? ? that gave little hint of the range, variety and quality of what was to be offered.

Perhaps that neatly summarises director Lloyd Matthew?s approach: No fanfare; just immaculate preparation, near flawless execution and exquisite music.

As has become a tradition with the Singers, there were guests ? organist John Oss, the wonderful Cecilia Tucker and the returning Antonio Dangerfield, who so thrilled the audience last year with his brilliant trumpet playing.

But it was the Singers themselves who opened with Paul Manz?s E?en So, Lord Jesus, Quickly Come.

They right away displayed their characteristic balance and meticulous articulation, in this serenely meditative piece sung .

A new version of the cowboy carol, I Wonder as I Wander followed, a piece with interesting rhythms that featured in which the singing of the sopranos was notable for its unity of tone.

Then came the well known Of The Father?s Love Begotten, Wilber Chenoweth?s classic, with its elaborate Amen, gracefully song by the Ensemble, full throated at the climax.

There followed two Trumpet Voluntaries, both well known, by John Stanley and Jeremiah Clarke, played by the irrepressible Antonio Dangerfield.

He decorated both with a series of triple-tongued figures, and once, in the Clarke, substituted a high tonic for the written note, a touch of bravura.

He was accompanied by some lively martial playing by organist John Oss.

?Mid-Winter? followed, a new setting by Bob Chilcott of Christina Rosetti?s magnificent poem: Earth stood hard as iron Water like a stone.

Snow had fallen, Snow on snow, Snow on snow.

I imagine composers approach this text with some trepidation. How to do justice to the music and imagery of those lines.

Chilcott chose to evoke the iciness with a spare upper register open voiced piano introduction which led in the sopranos, and figure he repeated for the last verse beginning: What shall I bring Him, Poor as I am?

The men alone sang the Harry Simeone favourite Do You Hear What I Hear?

In the final passage, perhaps the first tenors were not loud enough to balance the robustness of the rest of the male chorus, but that was a small matter. In a programme of several high points, perhaps the most outstanding was the performance Handel?s Let The Bright Seraphim, sung by a guest artist ? soprano Cecilia Tucker, accompanied by John Oss at the organ and trumpeter Dangerfield.

Ms Tucker was impeccable, her rich soprano covering the wide tessitura of the piece, with grace and ease, and not a little humour as she set Mr. Dangerfield some challenges to imitate in her cadenza, which he gallantly met.

Perhaps even George Fredrick himself might have been amused.

Oboist Robert Burgess provided the obbligato for a setting of Silent Night, which followed with the ever present Oss on the organ.

Then it was the organist?s turn to present An Improvisation on God Rest You Merry, Gentlemen.

Having played a supporting role for the entire evening, it was now his turn to shine.

What a thoughtful and creative player he is. True not all ?Improvisations? are in fact improvised, this rendition led us listeners on an intricately winding path where the well known theme appeared and reappeared in counterpoint and stretto, winding up in a strong firm ending.

Lully, Lulla Thou Little Tiny Child followed, the women then men respectively negotiating a harmonically challenging work, the men with a firm szorsando on to slay.

Glory Glory Glory to The Newborn King began as an Archetypal Negro Spiritual, Cecilia Tucker?s voice imbuing the simple melodic line with incredible beauty; and then one realised it was a medley, joined to Go Tell It On The Mountain.

This featured an extended riff of an ending, as playful as anything in the realm of Jazz music, which it in fact resembled.

The singers followed this with another piece, Before The Marvel Of This Night.

The choir were joined by a brass/wind ensemble and percussion.

They played the introduction, beginning with a cymbal crash and a mighty chord from the brass. They wove a rhythmic introduction for the entry of the chorus in Magnificat.

If the bore touches reminiscent of a certain John Rutter, it may be that the composer of this piece, Nicholas White, had more than a passing association with that Master at Clare College Cambridge.

The choir might have been a bit louder here, to balance the terrific sound coming from the ensemble, but they made their point in full-throated, melodious fashion.

It was a fitting finale, textually and musically.

What Lloyd Matthew is doing with his Ensemble Singers is worthy of the highest praise. There must be many a professional choir which would be happy to achieve this standard.

What a wonderful Christmas gift they have given.

They deserve our grateful praise. And that is what the audience told them with the standing ovation at the end of the magnificent Magnificat.