The Gabrielis made their name with mammoth reconstructions of grand musical occasions. Tonight, though, the two composers on the programme are separated by 300-odd years. But Monteverdi and Stravinsky are linked by their ties with Venice, in life and in death; the Italian is buried in the Frari, while the Russian's remains lie on the island cemetery of San Michele.

Paul McCreesh had created an hour-long programme interspersing the movements of Stravinsky's Mass, which he conducted, with devotional solo motets by Monteverdi, which he didn't; for these, the tireless tenor Charles Daniels was accompanied in his florid, almost sensual pronouncements by lively harp, chitarrone and chamber organ, and finally a pair of violins.

For the Mass, the choir was joined by 10 modern wind and brass players. In the barn-like Christ Church acoustic, the oboes sounded aptly chiming, but the trombones tended to muddy the texture slightly. Stravinsky's setting delivers the Latin words to the listener in simple, often repetitive style, and McCreesh emphasised the shape of the text rather than punching out accents - so much so that the singers' impeccable chapel-choir phrasing made stretches of the Credo sound almost languorous. But the muezzin-like tenor calls at the start of the Sanctus came over vividly, and the Hosanna sounded snappy.

The encore, the Ave Maris Stella from Monteverdi's Vespers, reminded us of what the Gabrielis still do best. But while this programme may not have shed huge amounts of light on either composer, it did make one think - in this case, about the very nature of devotional music. That is something most concert programmes don't even aspire to.