From the perfectly judged sullen opening, it’s evident that Gerontius is at-end-of-life. So considered is Martyn Brabbins’s conducting in terms of dynamics and colour from the first bar that we are there with Cardinal Newman’s creation as he begins his spiritual journey to Elgar’s magnificent music. The Prelude, Brabbins masterly, sets the stall for the whole performance, whether tempos, transitions, or easeful flexibility, with the beatific opening of Part Two introducing a new timbre from the strings to welcome Gerontius to the other side, Brabbins setting a spacious tempo, the music developing organically. Notwithstanding the wonderful Anthony Rolfe Johnson (for Vernon Handley), David Butt Philip sings Gerontius with sincerity, heart and soul, and perhaps a little strain (reasonably enough given the challenging writing and Gerontius’s predicament) although he’s always heroic and, later, very moving in his quiet singing and in duet with Karen Cargill’s Angel, although as good as Cargill is, very humane, she must yield slightly to Jamie Barton’s vivid portrayal on Edward Gardner’s LPO version (both artists take the optional high note in Part Two); similarly, for all his noble resonance, Roland Wood has to compete with Robert Lloyd (for Boult). Of the Huddersfield Choral Society, just occasionally I wondered if a few more voices were needed, but there are plenty of choral thrills, majesties and confidences, and total devotion to the Elgarian cause. RNCM Chamber Choir also takes part as the semi-chorus. Recorded in the sympathetic acoustic of Huddersfield Town Hall (April last year) Dave Rowell has secured superb sound and Andrew Keener has produced a seamless experience to a silent background (even on headphones). I have been seduced, deeply involved and, by the end, overwhelmed by this remarkable recording.

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