One of the singers smashes out a jittery pulse on a shaman drum and the 50-strong choir intone a chant, while at the front a tenor who looks like a doorman you wouldn’t mess with spits out what sounds like a threat from between gritted teeth. It is the Estonian National Male Voice Choir performing Veljo Tormis’s Raua needmine (“Curse Upon Iron”) and it is utterly entrancing, invigorating – and just a little bit scary.

From the outset, it was clear that this would be a performance of immaculate sonic architecture. Over a soft, deep, and breathy organ pedal the first utterings of the strings sounded tentative, almost improvised, like an artist making the first daubs on a vast empty canvas.

Tenebrae in tenebris: put more plainly, a top choir that’s anything but shadowy, except when it needs to be, doing its bit for the darkness of Maundy Thursday. The thoughtful plaiting of Bach motets with three Tenebrae Responsories and other works by our top choral composer, James MacMillan, worked well until the last work on the programme. Then they had to go and spoil it all by premature ejaculation.

The Facade Ensemble is an interesting chamber group of young players dedicated to exploring 20^th repertoire, in this case John Cage, Arvo Pärt and Gavin Bryars, who celebrates his 80^th birthday this year. The programme, put together by founder and conductor Benedict Collins Rice was contemplative in tone, and an interesting opportunity to hear these experimental and minimal works in a pared-down scoring.

GoldMund, Anna Veit: Mehr Oder Weniger Lametta – arrangements of Tchaikovsky, Bach, Humperdinck, Martin Luther, John Rutter (Solo Musica)

There are conductors, and then again there are choral conductors. I sang under David Willcocks in Tallis’s 40-part "Spem in alium" and remember vividly that long-armed semaphoring that he later applied so notably with the Bach Choir.

David Hill, long-term driving force of the Bach Choir which Vaughan Williams sang in for 18 years before becoming its music director in 1921, claims VW as “a quintessentially English composer”.

Schoenberg’s “Song of the Wood Dove” takes up a mere 11 of the 100 minutes of his epic Gurrelieder, though it’s a crucial narrative of how King Waldemar of Gurre’s beloved Tove was murdered by his jealous queen. Last night, as in Simon Rattle’s 2017 Proms performance, stunning mezzo Karen Cargill came on stage, immediately in character, and with no reference to the score on the stand in front of her, showed everyone else how to do it.

The Voces8 Live from London, now in its seventh iteration, has progressed from streaming choral chamber music from an empty studio to an 80-strong visiting choir in a packed Christ Church, Spitalfields. In doing this the festival has retained its best features – a variety of repertoire, collaboration with a range of ensembles – while adding scale and the warmth of a live audience.

Once upon a time the Three Choirs Festival conjured up a single image, that of the English Oratorio – the grand choral solemnification of everything that was most profound in Anglican thought (though ironically its greatest exemplar, Elgar’s Dream of Gerontius, was irretrievably Catholic, and one Anglican bishop is supposed to have said he wouldn’t allow it into his cathedral).