The Sixteen’s annual visit to Durham Cathedral as part of its Choral Pilgrimage has become a firm favourite on the region’s musical calendar.

This year the ensemble, under the inspirational direction of Harry Christophers, returned to their grass roots with a programme of English Renaissance music, mining a rich seam of polyphony from John Sheppard, William Mundy and Richard Davy – each work a gem in its own right.

The capacity audience was instantly transported to a bygone era with Sheppard’s exquisitely-scored Gaude, Gaude, Gaude Maria.

Christophers shaped an immaculate account, with a rich bass line providing an underlying plainchant as the upper voices swirled ethereally above.

Each cumulative layer of the polyphonic structure was projected with a ringing clarity.

Mundy’s intricate Adolescentulus sum ego blossomed organically and was invested with a keen sense of momentum.

It is nothing short of a miracle that Davy’s O Domine caeli terraeque creator, written in a blaze of creativity in one day, survived the religious turmoil of the time. The singers revelled in its rich textures.

Sheppard’s sublime Libera nos was utterly mesmerising, with the higher voices forming a seamless swirl of colour over the bass line.

The composer’s ensuing In manus tuas was unhurried and spacious, with each phrase allowed to breath before ending in a heavenly Commendo spiritum meum.

The concert came to a climax with Mundy’s substantial Vox patris caelestis, which was originally staged as an outdoor pageant for Mary Tudor on the day before her coronation in 1553 - and was incidentally the first-ever work performed by The Sixteen.

Including vivid lines such as “the voice of the turtle dove” and “your lips are as a honeycomb”, its luscious harmonies were given a royal treatment.

It was a magical evening and a rare privilege for all who were there.