The opening of Haydn's Creation oratorio is a radical, haunting evocation of chaos and, with a confident string backbone, soaring solo wind solos, the York Musical Society orchestra captured the mood superbly, and the blast of C major enlightenment was absolutely spinetingling.

David Webb proved to be a most lyrical of tenors in the aria Now Vanish Before The Holy Beams with the choir delivering an infectious A New Created World chorus, capturing the music’s almost child-like innocence.

The aria With Verdure Clad The Fields Appear amazingly inspired Haydn to create one of his most lyrical settings, and soprano Julie Kennard sang it with infectious charm. There were two exquisite moments of tonal illumination from bass Michael George (Softly Purling, Glides On…) and Webb (With Softer Beams…) as well as a splendid The Heavens Are Telling chorus, with the impressive York Musical Society complemented by a velvety-toned boys and men of York Minster Choir.

The string playing at the opening of the aria On Mighty Pens…bristled with crisp articulation.

Here, as in much of the score, Haydn had great fun with musical depiction - the cooing dove calls, the poor maligned worm and an outrageous raspberry to sign-off the heavy beasts. Bass George was superb throughout and his touching aria with Kennard, By Thee With Bliss, was quite delightful.

Special mention must be made of the York Musical Society orchestra, and the strings in particular, who gave their all in an exposed and demanding performance. David Pipe (continuo) was comfort incarnate and conductor Robert Sharpe was absolutely, understatedly excellent.