The Headington Singers’ Silver Jubilee concert began joyfully with Parry’s Blest Pair of Sirens, a suitably celebratory piece that the choir clearly found inspiring, judging by the whole-hearted gusto with which they delivered it. Under conductor Sally Mears’s energetic and precise guidance, this was a sparkling performance, and boded well for the rest of the evening.

A highlight was the new commission from composer Samuel Pegg — a setting of Wordsworth’s The Solitary Reaper. Like the Parry, Pegg’s piece was a celebration of the power of music, but in a quieter and more reflective way, with the composer drawing inspiration from the anthem, plainchant and English folk song traditions to produce a piece that was thoughtful, charming and irresistibly lovely. The singers were obviously relishing the chance to give voice to a new work written especially for them. Choir and audience both enjoyed the first rendition so much that we were treated to an encore. Happily, Pegg was there to see how much his work was appreciated.

After this, anything else might have seemed an anti-climax, but the quartet Spare Parts impressed with three traditional French carols — Salve Puerile (Welcome, holy child), Un Flambeau, Jeanette, Isabelle! (Come with torches, Jeanette, Isabelle!) and Entre le Boeuf et l’Ane Gris (While ox and ass stand round). This led neatly into Charpentier’s Messe de Minuit pour Noël, a rather curious juxtaposition of the familiar words of the Mass with the melodies of traditional French carols, which saw the choir coping well with its technical demands.

There was also a chance for the Isis Orchestra to shine in Corelli’s Concerto Grosso in G minor, with some lovely contrasts drawn between the joyful dance movements and the elegance of the slower movements, all performed with simplicity and eloquence.