In his short time at Birmingham, Sakari Oramo has established himself as a powerful advocate of Elgar’s works. Gerontius only confirms his understanding of Elgar’s skill, also of the quality of his superb chorus and orchestra. Indeed, recorded as well as they are here, the choir outperforms even the Hickox and LSO performance, leaders in that respect until now.

Oramo and his team give an altogether thrilling account of whole work, with the big choruses hitting one in the solar plexus, so convincing in every respect. The extremes of dynamic and tempo control are for the most part remarkable. On a few occasions, especially towards the end of the work, did some choices seem a little exaggerated; on the other hand it’s good to hear a conductor with the strength of convictions to disregard tradition.

The soloists make a fine trio. I didn’t imagine, on previous form, that Justin Lavender would be such the eloquent Gerontius he turns out to be. His enunciation of the text and his feeling for every word is felt throughout. Nobody is likely to surpass Nash (Sargent) or Lewis (Barbirolli), but in my book Lavender surpasses all recent interpreters, certainly David Rendall for Colin Davis. Above all he sounds totally inside the part, suggesting above all the great immediacy of the dying man’s pangs of the soul.

Jane Irwin, whom I have always thought underrated, here comes into her own as the Angel, warm voice and appealing personality absolutely suited to the part, and she braves all the high alternatives. Only Barbirolli’s Janet Baker surpasses her. Peter Rose is very much in the picture, if not the most individual singer of the bass roles. As a whole the reading is the best of modern versions on CD, although I would draw attention to the recently issued account on DVD, conducted by Andrew Davis and with a fine set of soloists (including Philip Langridge’s memorable Gerontius), recorded in St Paul’s Cathedral, another special experience.

The Enigma Variations are just as interesting. Again Oramo provides many aperçus and one or two untoward surprises. The gleaming strings and fine wind of the CBSO make the best of Elgar’s ever-popular work. This version, easy on the ear, comes close to many favourite performances on disc. The carol, a premiere, adds to the set’s value.