Haydn’s Theresienmesse lags behind the Nelson in frequency of performance, which is a shame, because its rich texturing, delicious harmonies, infectious melodies and unerring ability to surprise amke it a delightful and stirring work, frequently dramatic and bristling with energy, but also capable of sublime calm.

On Saturday, the Oxford Bach Choir tackled the piece with evident relish, savouring the choruses as a wine connoisseur might a particularly fine vintage port. Conductor Nicholas Cleobury was firmly in control, expressive as always in the way he communicated with the choir, drawing from them some lush sounds and well-observed dynamics.

Occasionally, I felt, the choir’s diction suffered during some of the more dramatic moments, and the surprisingly boisterous Agnes Dei sounded just a little too strident. But mostly this was an impressive and vibrant performance, delivered powerfully and with a great sense of commitment, well supported by some polished and meticulous playing from the London Mozart Players.

Among a particularly fine quartet of soloists, soprano Anna Devin — a Jette Parker Young Artist at the Royal Opera House — shone with some bright and resonant singing that soared gracefully and effortlessly. Mezzo Carolyn Dobbin, tenor James Oxley and bass Giles Underwood gave strong contributions, and all four soloists blended well, with the gloriously operatic finale to the Credo, a particular joy to hear.

Mozart’s more familiar Requiem could have seemed an anti-climax by comparison, but its familiarity was in itself a joy, every note a rediscovered treasure.

The sublime Lacrimosa was, as always, my favourite moment, but there was plenty to savour here, from the hauntingly arresting Introitus to the dramatic Dies Irae and hearty Rex tremendae. Once again, the choir impressed with its unwavering attention to tone and dynamics, while the soloists again delivered some quality performances, the magnificent Tuba mirum being particularly memorable. The final Communio brought an exceptionally exciting and compelling performance to a satisfying conclusion.