In a week that seemed to herald a new age of anxiety, Ealing Choral Society offered consolation in the opening to its 2024-25 season, a programme of music celebrating peace after times of trouble. Saturday’s standing-room-only, capacity audience at St Barnabas, Pitshanger Lane, was treated to the sound of powerful Edwardian choral music, followed by the soothing melodies of Howard Goodall’s moving Eternal Light: A Requiem.

A requiem might not seem the obvious piece from Howard Goodall, the composer of such beloved television classics Blackadder, The Vicar of Dibley and Mr. Bean, yet his Eternal Light, a moving and contemplative “requiem for the living,” seemed uniquely suited to the present moment. Weaving together the traditional Latin texts of a requiem mass with poetry intended to comfort those left behind to grieve, Eternal Light magnified music’s ability to transport us from the everyday, to evoke a peaceful place of comfort.

The ability of music to move, to thrill, and to inspire was evident in the first half of the concert, showcased by gleaming organ-forward anthems Blessed City, Heavenly Salem by Edward Bairstow and O for a closer walk with God, and For lo I raise up by C. V. Stanford. Equally powerful were the quiet moments in the elegant Five Mystical Songs by Ralph Vaughan Williams, soloist James Geidt’s buttery baritone gliding over the contours of Vaughan Williams’ classic collection of spiritual songs.

Supported by soprano Christine Buras, tenor Dafydd Allen, baritone James Geidt, pianists/organists Ben Horden and Joshua Ryan, harpist Cecily Beer and the London Mozart Players, Peter Asprey and the Ealing Choral Society delivered an exciting performance, the first of four big concerts this season. As a sanctuary amid the world’s storms, Ealing Choral Society’s season opener made the case that music provides a place of comfort and hope. Two hours of soul-reviving musicianship later: mission accomplished.