Two composers: one familiar, the other perhaps not quite so familiar. Schola Cantorum’s typically adventurous programming paired Maurice Duruflé’s Requiem with sacred works by one of his successors as organist at the church of St Etienne du Mont in Paris, Thierry Escaich. In the first half, Escaich’s In Memoriam formed a magnificent centrepiece; written to mark Duruflé’s centenary in 2002, it has fragments of his music woven into it, while texts from the Latin Mass are intertwined with Escaich’s own words to form a mesmerising work.

Under conductor James Burton’s expert guidance, the choir drew out the ethereal quality of the opening, with particularly lovely sounds from the sopranos, before giving way to a gradual increase in energy and intensity, reflecting the entreating nature of the words.

In the Dixit Dominus, they gave a bold realisation of the declamatory quality of the text, with a carefully controlled attack that just stopped short of stridency.

Duruflé’s Requiem occupied the second half, and this inspiring and moving piece was treated with such reverence, spirituality and purity of sound that it seemed to meld into the splendour and sanctity of this most beautiful of college chapels. Mezzo Marie Elliott and baritone Marcus Farnsworth contributed solidly-sung solos – Elliott’s understated rendition of the lovely Pie Jesu, which reflects the Requiem’s central theme of forgiveness, was particularly uplifting – but it was the choir that really impressed; clear diction, a consistently warm sound and a strong sense of purpose informed their performance, ensuring that the contemplative nature of this often underrated work was brought out to the full. Most importantly, the emotional contrasts were beautifully realised.

So the Domine Jesu Christe and Libera Me were suitably impassioned, the Agnus Dei and Lux Aeterna were smoothly tranquil and meditative, and the Sanctus joyful and exuberant. The final In Paradisum, with its unresolved ending, brought the piece to a haunting, thought-provoking close.