At Buckfast Abbey on Saturday 26th October, David Acres unveiled a new experimental Counterpoint Choir vocal line-up. The number of voices was reduced. Eight women sang with twelve men. All the women sang soprano, with four each of counter-tenors, tenors and basses.

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In the bass section was the new Musical Director of Buckfast Abbey, Philip Arkwright. The countertenors and sopranos were joined respectively by John McElliot and Judith Overcash of Quire Cleveland. John and Judith invited David Acres to sing alto in their choir during a UK tour earlier in 2013. David then invited them to join Counterpoint for the evening of Purcell songs. David has now joined the Cathedral Choir and Chamber Choir at Trinity Cathedral, Cleveland Ohio, and has become a regular member of Quire Cleveland.

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The special guest for the evening was James Bowman, who not only sang astoundingly beautiful solo works by Purcell, but also joined the choir as an additional countertenor voice and occasional soloist - not to mention some very lovely ensemble singing with selected choir members.

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The evening began without pre-amble. The opening song was one written by the 23 year old Purcell for the coronation of James II to augment Handel's Music for the Coronation of George II. No explanation of the music was necessary. As usual, David Acres had provided full historical details in the programme notes.

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The words of Psalm 122, "I was glad when they said unto me, 'we will go into the house of the Lord'" demonstrated the full potential of the new Counterpoint structure. Every voice was strong and individually audible, and the overall sound perfectly balanced. For the closing words, "As it was in the beginning ...", the powerful and mature sound of Edward Woodhouse's tenor voice made itself known - a voice which would return to the fore several times during the evening.

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The choir then slipped back in time a couple of years, to Purcell's arrival at Westminster Abbey, aged 21. Remember not, Lord, our offences takes the words of Thomas Cranmer and enhances this appeal for clemency with a delightful musical setting. The additional soprano voice introduced by Purcell seemed to be taken up by the countertenors, including James Bowman. The high tenor voices broke through impressively with "Neither take thou vengeance of our sins." The choir's amazing ability to sustain each note in consort was then demonstrated by the words, "but spare us good Lord ..."

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Then followed something much more intricate. The choir members changed places for Purcell's Magnificat and Nunc Dimittis, written for his later work Evening Service in G minor. Emma Perona-Wright and Judith Overcash now took on separate soprano lines, while James Bowman and Anselm Carr-Jones led the respective countertenor parts.

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Matthew Cann and Julian Rippon, two men used to singing on opposite sides of the Cathedral Choir, divided the bass parts between them. Suddenly only three voices were active. James Bowman joined Julian and Ed for a gentle trio. Then there were two - as Emma and Judith sang in duet. The interplay between the singers was fascinating to watch as the choir took over, before making way for the micro-choir to sing once more. At the very end, Matt Cann's bass voice augmented the doxology, repeating the assertion of divine presence, "is now," three times before, "and ever shall be, world without end." The final, "Amen" got special treatment from the male voice trio of Julian, Edward and James.

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The next item was, surprisingly, not by Henry Purcell. The words of John Donne's A Hymn to God the Father is a piece which was set to music by Purcell's predecessor Pelham Humfrey. Although Humfrey died (aged 27) when Purcell was 15, Purcell was greatly influenced by his work. The Hymn is a solo song for countertenor, and an opportunity for James Bowman to demonstrate his vocal skill. Accompanied by David Davies playing the organ, he sang with his usual volume and precision.

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Just before the interval the choir added a coda to the concert they performed to start the year (The Life and Times of Mary I, 9 Feb 2013). James II was succeeded by his daughter Mary II - Mary I's first cousin (four times removed). Mary II and Henry Purcell were contemporaries. When Mary died, Henry Purcell composed the music for her funeral. The same music was used for Purcell's own funeral only a year later. The opening march involves drums and trumpets - an arrangement that Counterpoint performed about eight years ago. This time, however, the trumpets and other instruments were provided by David Davies playing the Buckfast Abbey organ, and the words were sung a cappella. Initially a male voice trio stood forward to sing, "Man is born of woman, hath but a short time to live, and is full of misery." Three new voices had their chance to shine. Countertenor Anselm Carr-Jones was joined by tenor Michael Graham and bass Philip Arkwright. For the telling line, "In the midst of life we are in death," a fourth angelic voice filled the Abbey with sweet sadness - soprano Josie Walledge. David Acres was using the vocal skills of the choir members to the full.

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After the interval several other voice combinations were introduced. For the setting of Psalm 119, Thy word is a lantern unto my feet, [in the trio verse sections] James Bowman [was joined by] the tenor and bass Michael Graham and Matt Cann respectively.

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In anticipation of St Cecilia's day, which was four weeks away, David Acres had prepared the choir in Purcell's Jubilate in D major (written just before Purcell died). This very complicated choral work was set about once again by David Davies' 'trumpets' from the organ. The first voice was that of James Bowman, "O be joyful in the Lord all ye lands." Later James was joined by soprano Judith Overcash in a beautiful duet, "We are his people and the sheep of his pasture."

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Next an uncompleted fragment from Purcell's first years at Westminster. Hear my prayer O Lord from Psalm 102 was a chance to hear a new and different duet, sopranos Elle Williams and Denise Kehoe.

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Michael Graham and Julian Rippon collaborated in another, very much completed, work from the same period. Jehova quam multi sunt hostes mei?(Jehovah, how many are my enemies?). Michael pronounced the immortal words, "At tu, Jehova, clypeus es circa me" (But you, Jehovah, are a shield around me), while Julian replied with, "Voce mea ad Jehovam clamanti, respondit mihi e monte sanctitatis suae maxime" (As my voice cried to Jehovah, he answered from the mountain of his holiness).

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An evening of Purcell with James Bowman would not be complete without hearing James sing An Evening Hymn, the song with which he closed his farewell performance at Wigmore Hall in 2011. James also sang this song at the ceremony to confer on him the 'Fellowship of the Royal School of Church Music' at Exeter Cathedral the following year. On that occasion he was accompanied by David Davies playing a chamber organ. With David Davies accompanying on the Buckfast Abbey organ, James gave yet another delightful solo performance of this moving and evocative chaconne.

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Finally the choir accompanied James Bowman in another trio performance. This time he was joined by the Abbey Musical Director, Philip Arkwright, singing bass and the tenor voice of Edward Woodhouse.

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With David Davies playing a perfect continuo the evening ended with the rousing Rejoice in the Lord. Those opening words also serve as the final climactic crescendo. An unforgettable ending.

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In its various permutations, the new Counterpoint line-up has lived up to expectations. It was sad not to see or hear several familiar choir members. However, the exquisite results David Acres was able to achieve with just eighteen voices, fully justified the change in approach. Less really can be more! (edited version of review and photos by Luch Càise-Dearg Classical Journey)

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Your decision to reduce the size of the choir came as quite a shock when we first read the news in the summer. I might have know you would know exactly what you were doing! Last night's concert in Buckfast Abbey was stunning. The music was an eye-opener to my wife and I.

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We knew several of Purcell's verse anthems and the Magnificat and Nunc Dimittis but the entire programme was a revelation! I have heard about the Funeral Sentences but have never listened to them. The depth of emotion and feeling you brought out of the choir was, at times, so intense. I lost my Mother last year and I found the piece so poignant and passionate that I welled up and the tears fell from my eyes.

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What can we say about James that I haven't already told you before. I know he is 72 in a few weeks time, but his showmanship and the way he puts a piece over is as riveting as it has always been. I saw him in St John's, Smith Square in London in the early 1980s and he sang the Evening Hymn and also the Pelham Humphrey work and I would say that, for me, time stood still! He was as good last night as he was that night, nigh on 30 years ago. The man is a legend!

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We can't wait for the next concert. (Andrew Prosser)

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An absolutely lovely evening, I loved the concert. James was singing with beauty in fact all the choir were. I was challenged by the weather but was rewarded for my efforts. So glad to be there. Thanking you from my heart and soul. (Eileen Furgerson)

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Thank you so much for the "real thing" tonight; another fabulous concert and of course sublime singing from James Bowman, especially the Evening Hymn, which will certainly live long in the memory. (Nigel Dutt)

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I have not heard quality of singing at this level for many years. I am a retired tenor now but I have been involved with choral singing for over 55 years and I was bowled over by the sheer beauty and delivery of all the pieces.

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Your programme notes were, once again, so important to what we were seeing and listening to - bravo!

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For me, the way the words of each piece were brought to life through the music, this was the true quality of the singing. The Funeral Sentences took on a new meaning for me; Hear my Prayer had a wonderfully controlled crescendo that literally rocked me back in my seat; the perky Jubilate was a sheer delight - and what a find you have in Judith Overcash - pure and with no trace of histrionics!

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As for Mr Bowman, what else is there for me to say about him. I remember well his early days with David Munrow's singers in the early 1970s and what a career he has had. That he is still singing with such power and love of his craft is true testament to his genius. I was quite emotionally overcome as he sang the Pelham Humfrey Hymn to God the Fatherwith such passion.

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Truly a night to remember. (Richard Stephenson)