Every time I hear Commotio, I am impressed with the virtuosity and immense musicality of this exceptionally well-drilled choir, and last Saturday's concert seemed to me to be their finest yet. As always, this was an adventurous programme of little-known choral gems, unearthed by conductor Matthew Berry, and delivered with assurance, warmth and clarity.

The highlight of the evening was Jonathan Dove's The Far Theatricals of Day, which, as the name suggests, is a dramatic recreation of the unfolding and closing of a day, based on verses by the American poet Emily Dickinson. Four solo voices, choir, brass quintet and organ combine to capture the shifting moods, underpinned by some wonderful harmonic and rhythmic textures. This is the kind of work that shows Commotio at its absolute best: some glorious singing, with a lovely purity of tone, sensitive phrasing and an appreciation of the piece's dramatic value. Charlotte Verrall, Katherine Cooper, Philip Fine and Tom West did sterling work as the four soloists, but everybody played their part in ensuring that this was a truly stirring experience.

Also of interest was the setting of Ubi caritas by Richard Allain, whose new work for choir and cello will be premiered by Commotio at Merton College in June, and later recorded on CD. So this provided an insight into Allain's style, and a taste, perhaps, of delights still to come.

Elsewhere, there was Martin Eastwood's gently rhythmic setting of Ave Maria, written with Commotio in mind, and seemingly designed to show off their most lyrical and expressive qualities. Thomas Jennefelt's Claviante Brilioso was a little more testing, and Charlotte Verrall coped well with the tricky soprano solo line. Ruth Byrchmore's A Birthday showcased the lovely, effortlessly soaring voice of another soprano, Connie Wordsworth, while the shimmering quality of Eric Whitacre's I thank you God for most this amazing day brought the evening to a satisfying close.