`Fluent" was the word which came to mind frequently during Friday's lunchtime concert at the National Concert Hall. The choir of St Teresa's Church Clarendon Street conducted by Grainne Gormley, plus the church's organist Ronan McDonagh, presented a well-organised programme of sacred music from the 16th, 17th and 20th centuries.

This 15-strong all-adult choir, which includes several professional singers, showed a satisfying emphasis on blend while keeping each line distinct. At low volume the bright tenors off-set the distinctly fruity altos, and only at maximum volume did an over-individual edge emerge in some sections, especially the tenors and sopranos.

The concert began and ended with pieces by Ronan McDonagh, fluent in their use of counterpoint and plainchant-influenced modality. Apart from an error-prone and hesitant account of the Final of Vierne's First Organ Symphony, McDonagh was a reliable soloist and accompanist.

A satisfying aspect of this concert was the choir's readiness to produce different types of sound for different compositional styles. The Renaissance polyphony of Victoria's Missa: O magnum mysterium was line-driven, rhythmically alert and delicately coloured. The late 20th-century, scrunchy counterpoint of Miklos Kocsar's Salve Regina, for female voices, was much more intense in colour, even though it is almost all quiet, and it was impeccably tuned.