The graphic and, at times erotic, love poetry of the Song of Songs has inspired many composers, as this imaginative and superbly-presented concert showed.

Under conductor Tom Williams, we have come to expect the highest standard from the Chorale, plus an element of discovery and even risk.

He will stretch his carefully rehearsed forces to the limit, his own confidence providing tangible inspiration.

Victoria's glorious six-part motet Vidi Speciosam made an arresting opener, with Williams producing seamless layers of well-balanced, glowing sound.

More restrained but equally stylish was Palestrina's Gutter Tuum. However, the most sonically spectacular of these masterpieces was Hieronymus Praetorious's Tota Pulcha Es, in which three antiphonal choirs, aided by a sonorous organ, answered each other with spine-tingling joyousness across the nave of the church.

Three contemporary works were performed in the presence of their composers.

First was Howard Skepton's reflective Rise Up My Love – four exquisitely crafted miniatures of great beauty. Then came the world premiere of Ruth Almgill's setting of Veni Electa Mea, a highly singable, richly-textured piece of appeal, dedicated to the Chorale.

James Week's four evocative, canonic movements from Mala Punica presented the choir with its biggest challenge, but it was well met – the intensity of these settings offering a thought-provoking perspective on the texts.