The ancient chapel at Grafton Manor is such a perfect little concert-venue that it is surprising events aren't held there more frequently.
So when music is in fact made there it becomes something of a special occasion, especially as every time I have attended, thanks to the Bromsgrove Festival, the choice of material has been so well tailored to the location.
This year the Caird Oboe Quartet visited, bringing a programme centring on Mozart and Britten, and everything delivered with smiling, natural empathy from oboist George Caird and his string colleagues Alexandra Wood, Louise Williams and Jane Salmon.
Caird has recently made Britten's Six Metamorphoses after Ovid for solo oboe very much his own, and his dramatic, Pan-like entry interrupting post-interval pleasantries heralded a mercurial performance, fluid and almost vocal.
Earlier the ensemble had given a responsive, revelatory account of Britten's youthful Phantasy Quartet, with its brilliant fusion of styles and textures.
The Mozart input included an intriguing piece of detective-work, when Caird explained convincingly how the two-movement Quartet in C K285b in fact seems better suited to the oboe - which in this nippily-turned version it did.
And the composer's great Oboe Quartet drew rich levels of activity from the players, Caird's oboe as chirpy as the songbirds outside and as velvety as a coloratura soprano.
Built in 1690, Jane Salmon's cello, with its captivating tones, proved the perfect vehicle for a clearly articulated reading of Bach's Cello Suite no.3, its dance-movement subtext never far away.
Only a Schubert String Trio movement seemed slightly out of context here, but it was elegantly given.