English music featured in RNCM's very attractively planned concert, conducted by Malcolm Layfield, pictured left.

The initial long held note of Vaughan Williams's Fantasia on a theme of Thomas Tallis, was sustained by violins with unswerving intonation; this quality of tuning continued.

Ensuing harmonic progressions were enhanced with tonal warmth and discriminate dynamic shadings.

Lovely solos by viola and cello, and supportive double bass pedal notes en-riched further.

Regrettably the tenor soloist was indisposed for Dies Natalis by Gerald Finzi, but at very short notice Australian soprano Gillian Ramm, on the threshold of her career, took over and sang with assurance.

In this lyrical piece there were frequent echoes of the vocal line in the orchestration. In Wonder (Arioso), Gillian achieved exemplary legato phrases while gentle orchestration accompanied.

Elgar's Introduction and Allegro for Strings, Op.47 was beautifully realised, with the fresh approach of young musicians.

Individual instrumental lines had clarity, which was almost translucent at times. Tempi and rubato nuances were ideal, over-laying an energetic onward impetus.

An exquisite solo violist and the fine body of cellists, and double basses projected with definition. The final rising accelerando was exciting.

Less familiar, but captivating was Tippett's Concerto for Double String Orchestra. For this, two equal orchestras were arranged.

Allegro con brio, full of quirky rhythms, was given a full spectrum of expression, before it suddenly wound up. Adagio cantabile's sublime melody played by the estimable leader, was repeated by the first orchestra, then counterpoised by the second, before the wonderful melody was replayed by a fine cellist.

The closing Allegro molto was exhilarating and melodious. Jill Hopkins.