AUSTRIAN composer Anton Bruckner is more commonly associated with the vast cathedrals of sound depicted in his orchestral symphonies. But his motets – a distillation of the essence of his work – are no less impressive in their creative genius.

The Chorus of Royal Northern Sinfonia, under the direction of Alan Fearon, laid out four motets in all their glory.

The chorus opened Ave Maria with heavenly singing from the female voices followed by a warm underlay of male voices, before they both built to a rich intensity around Name of Jesus and a harmonious Hallelujah.

Forming the centrepiece of the programme was John Casken’s The Knight’s Stone, written for solo flute and choir.

The work had its genesis in a conversation between Fearon and the composer, with Fearon observing that it is a shame there are no works combining flute and chorus. Casken went away and returned with the resulting work, set to words of the 15th Century Corpus Christi Carol and first premiered by the chorus three years ago.

Its latest outing opened with a wonderful evocation of a falcon’s cry by flautist Juliette Bausor, before an atmospheric entry by the singers. The interplay between voice and flute was beautifully crafted, superbly delivered and utterly mesmerising.

The concert was topped and tailed by polished renditions of JS Bach’s motets Der Geist Hilft and Jesu meine Freude.