Easter Music at Brecon Cathedral is a well-established tradition, in its way as worthy of pilgrimage as the Golden Rood in pre-Reformation times, when the cathedral was a Benedictine priory. With a full weekend of liturgical music as well as concert performances, it is a festival in everything but name.

Part of what is refreshing at Brecon is that it doesn't matter that they programme Gerald Finzi's Dies Natalis a year after the composer's centenary: the work is there in its own right. Finzi's song cycle uses poems and prose of the 17th-century mystic cleric Thomas Traherne. The poet looks at the world with a child's unsullied, innocent wonder; his vision is of an Eden where man is made in a divine image.

The simple eloquence of Finzi's word setting was underlined by the immaculate articulation of tenor Rogers Covey-Crump. His sound, though not robust, was warm in this acoustic; he pitched the emotional tone perfectly, communicating with a sincerity and openness entirely true to Traherne and to Finzi. The final Salutation in particular achieved moments of blissful serenity. For his part, director David Gedge helped the strings of the Gwent Chamber Orchestra realise the seamless, organic flow of Dies Natalis, invoking the spirit of Bach in the gently undulating contrapuntal lines as well as in the cantata-like structure.

A lyrical flow also characterised Mozart's Concertone K190. With its subtle melodic elaboration and poignant excursions into the minor mode, this delightful work has the 17-year-old composer demonstrating flashes of the genius that would emerge in the later concertos. But, since it most resembles a sinfonia concertante, the balance in this performance would have benefited from treating the equally prominent oboe and cello as soloists, bringing them centre stage alongside the solo violinists Eluned Pritchard and Peter Davis. Mozart's Symphony No 39 was given a spirited performance, even if wind and brass occasionally warmed a little too much to the task and overpowered the strings.