The Hilliard Ensemble is well known for combining contrasting works in imaginative ways. Its latest project, a collaboration with the Chilingirian Quartet, brought together Gesualdo’s Responsoria in Parasceve and Haydn’s Seven Last Words from the Cross, both pieces composed for Good Friday.

Fortuitously, the Oxford leg of a five-concert tour coincided with Good Friday itself and Music at Oxford’s use of St Barnabas Church (pictured) as the venue was inspired, heightening the drama of the event. The Lenten shrouded statues and pictures recalled Haydn’s own description of the first performance of Seven Last Words in Cadiz in 1787.

These were fine performances from two highly accomplished ensembles. Gesualdo’s demanding music was impeccably sung by the Hilliards. David Gould (counter tenor) and Rob MacDonald (bass), who joined the core members of the ensemble for this tour, gave particularly fine performances.

Gesualdo was drawn to dark subjects, not just in church music but also in his madrigals. His chromatic textures and sensitive word-painting made a powerful coupling with Haydn’s solemn and reflective string writing.

Highlights included the pleading ‘memento mei’ (remember me) of the thief crucified with Jesus (Responsory 2) and the mournful repetitions of ‘dolor’ (sorrow) in Responsory 9. This is music which deserves to be better known. The solemn purity of the plainsong Kyrie: Christus Dominus towards the end was also masterly.

Not everyone likes the highly cultivated sound of the Hilliard Ensemble. Personally I have long been a fan and this concert for me was ample demonstration of why their reputation as one of the world’s leading vocal groups is so deserved.

The Chilingirian Quartet was also on excellent form, playing with great feeling and refinement. The sense of resignation in the Sixth Word (Father why hast thou forsaken me?) was particularly moving. The musical representation of the earthquake and the rending of the veil in the temple which concludes the Seven Last Words was superb, leaving all in darkness and despair. Simon Collings