On a program consisting of two works in the British choral tradition, Heidrich’s Connecticut Master Chorale offered first the Requiem (1985) of contemporary John Rutter and then the “Festival Te Deum” of Arthur Sullivan, written about the time Sullivan began collaborating with Gilbert on comic operas.

The latter was an eye-opener.

Neither stately nor solemn in the manner of later Sullivan efforts such as “Onward, Christian Soldiers” and “The Lost Chord,” the Te Deum began and ended triumphantly with a hymn that became a fugue and along the way alternated punchy orchestral sections with soprano solos anticipating heroines like “The Mikado’s” Yum-Yum.

The solos were handled sweetly by Emily Martin, who also took part in the Rutter Requiem.

This popular work, fluent and current yet accessible, rises out of the depths into light, later giving us a modal section recalling “Porgy and Bess” and a Sanctus in joyous triple time.

It was all properly reassuring.

The Te Deum., on the other hand, sounded thrilling as led by Heidrich, who as usual gave her all and got the most out of her forces, all of them accurate, united and in tune. (She even allowed herself a little dance to the triplets of Sullivan’s “We believe that Thou shalt come.”)