Sunday's Et Resurrexit concert was an ambitious undertaking for Terence Maskell and his Graduate Choir. There was rejoicing from the start, although Bach's mighty motet, Singt dem Herrn ein neues Lied, would have been more effective with greater vocal security and weight.
Continuo support was both judicious and unobtrusive, although the re-positioning of the singers mid-motet, setting a solo quartet against the main choir, detracted from the overall flow of the piece.
Benjamin Britten's Rejoice in the Lamb was an inspired choice. Written in 1943 and marking the composer's return to wartime Britain, these settings of idiosyncratic verses by the 18th century Christopher Smart sometimes tell us as much about the composer's personality and philosophy as anything to do with organised religion.
Timothy Noon's organ accompaniment provided a solid foundation and quirky trimmings, while Maskell led his choir through some stirring unisons and appropriately pealing Hallelujahs.
Soloists were variable, although David Hamiton caught the singularly English intensity of For the flowers are great blessings while Chalium Poppy enjoyed letting us know, at the end of his For H is a spirit, that "For M is music and therefore he is God''.
After interval, Bach's Easter Oratorio was launched in grand style, with the expanded forces of AK Barok. A few wavering trumpets did not detract from the jubilation of the overture, reprised at the end with some fine, energetic singing from the Graduate Choir.
Maskell's conducting was taut and clear, complemented by incisive playing from Graham McPhail and his strings.
Jayne Tankersley offered shapely lines in her aria Seele, deine Spezereien, against mellow continuo and Sally Tibbles' transverse flute. The soprano's stamina never failed her in an arduous but beautiful sing.
David Hamilton, taking the character of the doubting Peter, floated his big aria over lulling strings and recorders, while it was left to countertenor Dean Sky-Lucas to convince us as Mary Magdalene. He did, catching the anxieties of the aria Saget, saget mir geschwinde, offset by the elegant lines of Adam Masters' oboe d'amore.