Du Friedefⁿrst, Herr Jesu Christ BWV116 - Bach

O Ewigkeit, du Donnerwort BWV60 - Bach

Partita - Ach wie nichtig - B÷hm

Wachet auf BWV140 - Bach

It was good to see Christ Church Cathedral filled for last Sunday's concert in the occasional Abendmusik series. Mark Duley conducted three Bach cantatas designed for this part of the church year, at least two of them quite well-known.

The 12-strings players of Christ Church Baroque, mostly on period instruments, were reinforced by baroque oboes. The vocal side consisted of the 24 singers of the cathedral choir, plus a strong line-up of soloists - Rachel Talbot (soprano), Simon Baker (countertenor), Robin Tritschler (tenor) and Philip O'Reilly (bass).

Compared with Christ Church Baroque's Bach festival 12 months ago, this occasion was a step in the right direction. The strong points included a bright-edged choral sound which helped clarity in contrapuntal textures. Orchestral sound was more focused, and weaknesses of ensemble were occasional rather than persistent.

Also, there was the opportunity to hear the ensemble's new, nicely toned chamber organ built by William Drake. That was in a chorale partita on Ach wie nichtig, ach wie fluchtig by Bach's older contemporary, Georg B÷hm. It was neatly played by David Adams.

The concert showed that for orchestra and conductor alike, there are still challenges ahead.

In the extraordinary dialogue cantata O Ewigkeit, du Donnerwort BWV60, Robin Tritschler's beautiful, light-toned sound was often swamped. And the impact of Wachet auf BWV140 was limited by imprecision in orchestral balance and also by a rhythmic characteristic which appeared in other pieces too.

Independent lines and ideas need more precise definition of rhythm and articulation, both locally and in driving towards cadences, if they are to be truly independent, and work in tension as they should.

That said, this was a creditable, enjoyable concert, with a well-devised programme.