The year 1685, by curious coincidence, saw the birth of two children in Germany who wrote a lot of music, wore vast wigs, and ended rather tubby and famous. They were, of course, J.S.Bach and G.F.Handel, who shared the programme for Oxford Spezzati's concert in Merton College Chapel.

This was a high-quality event. The Spezzati soloists and ensemble were in sparkling form and the music induced reflection on the chances and dependence of even the most talented artist's life in that age.

Two motets by Bach use widely different forces - Komm, Jesu, Komm for eight voices and continuo, Lobet den Herrn for full choir. The first expresses a hunger for Christ in sustained lines, showing the male voices to special advantage; the second is a more straightforward hymn of praise. Both combine homophonic and polyphonic styles to underpin a steady faith.

The great Brandenburg Concertos, perhaps an unsuccessful job application, have long outlasted the ungrateful Margrave. We heard No 5, with solo flute (Gaelyn Pilmoor), violin (Julia Hailstone) and harpsichord (Jonathan Wikely), the latter given an unusually elaborate role to show off a new instrument Bach had purchased.

The second movement is a trio for the soloists alone - conductor Nicholas Munby withdrawing from the podium - while the final Allegro has its famous theme stated by them before the full ensemble joins in the magnificent contrapuntal ending.

Handel contributed the sparkle - literally so in the Royal Fireworks Music where the brass and percussion recommended by the King made their mark (I could feel the vibrations through the floor) as well as the less martial strings and woodwind which Handel added to the orchestration later.

His Coronation anthem The King Shall Rejoice found choir and orchestra at full stretch in the invocation Glory and Worship leading to the complex counterpoint of the final Alleluia. Merton choir has, of course, been a place of worship since the 13th century, though the angel roof to which those Alleluias soared is rather younger.

It is a privilege to hear music of such quality in such surroundings.