Last Sunday the St John's Youth Choir, under Marjorie Pettitt's, direction presented 'Joy To The World'.

They were accompanied in the first part of the programme by the harpist Ina Zdorovetchi, as they performed Benjamin Brittan's famed 'A Ceremony of Carols.. In the latter part, a chamber ensemble consisting of William Duncan and Andrea Hodson, at the organ and piano, respectively, Kate Ross, Alison Johnstone and Brian Swan, on Violin ,Cello, and Double Bass, Nancy Smith, Lisa Maule and Conrad Roach on Flute, Clarinet and Trumpet, did the accompaniment, with Peter Profit adding percussion.

Followers of this concert series, which was, I believe, the tenth such annual, will realise that this ensemble has become a stock feature of the Youth Choir's Christmas offerings.

They are nothing if not the epitome of professionalism.

The evening opened with Britten's work written for treble voices and Harp. The work consists of ten short items, including a harp interlude, and bracket by a Procession, and a Recession. It was sung by the Senior Girls' choir, 20 voices strong, from which was extracted a smaller ensemble to sing "In Freezing Winter Night'. It was impossible to fault the singers or their singing, as they did their work with attention to dynamics, with nice note placement and purity of tone.

Britten chose to set mediaeval texts to his highly personal musical style, and the resulting music is a challenge to sing. This gifted group of singers sweetly met whatever challenges there may have been, whether singing in unison, in octaves or three parts; really impressive

These deserve special mention. Honor Brady, for mastery of the strange vocabulary, awkward intervals, and note placement with only sparse clues from the accompanying harp's score. Jordan Robbins for effortlessly replacing Chelsea Mayeaux in 'Bulalalow', and Paige Hallet for in Freezing Winter Night; Emily Ross and Jordan Robbins, again, for their rendition of Spring Carol.

When a choir maintains a very high standard it is easy to take their efforts for granted. One hopes that the fruits of the girls' and their conductors labour were suitably appreciated.

Ms Zdorovetchi was a treat to hear, in both roles as soloist and accompanist. I'm sure the audience would have appreciated an opportunity to hear more of her artistry.

The second part of the programme found us in more familiar territory. There were sixteen selections in this section, with a few recycled pieces, some chestnuts, and several opportunities to hear descants; but also some fresh material. Patsy Ford's rocking, bluesy 'Hush Hear The Angels Sing', for example, Thomas Ribaroff was a standout, in "Good King Wenceslas". It was pleasing to hear how Francesca Dill is developing. She sang the Holst's version of 'In The deep Midwinter", and did so beautifully.

There was the obligatory Rutter, the delightful "Starlight', by Giles Swayne, two Handel pieces, and a Willcocks arrangement. So there was something for everyone.

And then at the end of it all, there was Santa with his basket of sweets, shaking a tail feather to "Jingle Bells'.

This choir puts in the work and reaps the benefits. They have a beautiful sound, sing respectfully of dynamics and communicate their enjoyment to their audience. The director cannot but be well pleased, and deservedly so.