The lovely tones of Brendan O’Donnell’s voice flute and Tim Nott’s baroque flute were ably supported and complimented by cello and harpsichord continuo by Hilary Kleinig and Glenys March in J.S. Bach’s Trio Sonata in G major BWV 1039, characteristic of the 18th century works labeled “stile galante”.

Elegant, graceful, yes. Also strong, disciplined, even heroic. Superb technicians, O’Donnell and Nott made complex passage work sound easy in the fast movements. No vibrato, no imposed dynamics, and canny perception of what Bach could do with a simple semitone. Vocal quartet Syntony opened and closed the program. Countertenor Matthew Rutty gave their texture a baroque flavour.

For Bach’s Mass in A major BWV 234, Katerina Stevens and Emily Dollman (baroque violins) and Anna Webb (baroque viola) joined the flutes and continuo for a colourful ensemble. Quite galante, in fact.