It’s a musical paradox that has long struck me: Anton Bruckner’s symphonies, especially the later ones, were conceived on the grandest, most extended scale. Yet his 30-odd church motets are models of compression, although they are still full of harmonic shifts and colourful dynamics. All this went through my mind again as the North Cotswold Chamber Choir embarked on a selection of the Bruckner motets.

Looking at the singers ranged across the west end of the spacious church, it was quite difficult to remember that this accomplished, 29-strong group actually call themselves a ‘chamber’ choir, such was the crescendo they produced in Christus factus est. And when they sing softly, it can make the hairs stand up on the back of your neck.

In each motet conductor Sarah Tenant-Flowers carefully brought out the full range of dynamics as well as the flowing lines of Bruckner’s music. Particularly effective for me were the performances of the composer’s brief Ave Maria — undeniably a romantic-era piece, but completely free of sentimentality — and Ecce sacerdos, which derives its inspiration from plainsong but develops some rich harmonies. The contrast in styles was tellingly delineated.

Providing instrumental backing for Ecce sacerdos were organist Julian Perkins and His Majestys Sagbutts and Cornetts (they don’t use an apostrophe). This distinguished brass ensemble was joined by a string trio for three Canzons by Giovanni Gabrieli — Canzon 7 à 7 was particularly memorable, with its dancing tune and growly bass. The Canzons were framed by Gabrieli choral works, including a particularly joyous Jubilate Deo.

Somehow there was also space in a packed programme for a couple of well-shaped pieces by Croce, and the evening ended with a really toe-tapping, high spirited, and luminous account of Monteverdi’s Beatus vir. The North Cotswold Choir is plainly on very good form.