THE Rose Consort of Viols opened their Chansons et Fantasies programme, one using a 16th century York Minster Library manuscript as a concert blueprint, with Crecquillon's Ung Gay Bergier.

One was immediately struck by the gentle, civilised sound world generated - delicate musical ideas being politely exchanged, inviting mezzo-soprano Catherine King to join them, which she duly did, blending in beautifully.

Crecquillon's second chanson had a deliciously resonant translation of 'Things can't possibly get worse'. As the title suggests, the viol playing projected a chanson with a mild hangover, though the playing was entirely thoughtful and sober. Come to think of it, a melancholic self-pity seemed implicit in most of the chansons and therefore it was something of a tonic to hear Attaignant's jaunty Galliarde with the players relishing the rhythmic fun and vitality. King sang with a gorgeously mellifluous tone throughout and Verdelot's Sancta Maria with its rich six-part texture was just lovely.

Though the performance of Van Wilder's Je Fille Quand Dieu injected some welcome animation and wit, the first three of his chansons created a relaxed, almost musaky backdrop, ideal for the court of Henry VIII where he was (probably) Master of Music, unless you happened to be wearing the king's ring, that is.

The best was saved until last: after an all-too-short glimpse at Tallis's thematic tapestry, juicy 'false relations' et al, was the most compelling, deeply-moving performance of Byrd's tribute to the old man. You could have heard the proverbial pin drop before the applause kicked in.

Updated: 09:57 Thursday, July 08, 2004