It seems these days as though every self-respecting chamber choir is keen to record Rachmaninov’s monumental a cappella masterpiece as its calling card. The bar has been set at a very high level with demonstration-quality recordings by several fine groups including Tenebrae and, most recently, the Latvian Radio Choir under Sigvards Kl,ava on Ondine (Gramophone Recording of the Month in February 2013).

With 68 singers, the Netherlands Radio Choir is a much larger body than most chamber choirs. Under the direction of the Latvian Kaspars Putnin,≈ it is clearly a highly flexible instrument. Although the idiom of the music is relatively straightforward, being largely homophonic with frequent subdivisions of the four main vocal lines, Rachmaninov places great demands on even the most skilled singers. Balance, dynamic contrasts and above all perfect pitching have to be maintained throughout, challenges which the Dutch singers pass with audible ease.

Another test is the quality of the bass section, which is famously called upon to descend down to low Ds, Cs and, on three occasions, low B flat. Fortunately, on this recording (made in the radio studio in Hilversum in autumn 2012) they are placed well to the front of the mix, providing idiomatically Slavic cello/bassoon tone. The brief solos are full of supplication, rich and varied in tone. The bonus is the early sacred concerto Ever Vigilant in Prayer of 1893, which stretches the first sopranos a little.

Although this is an enjoyable and perceptive account, especially noteworthy for the basses’ contribution, it is a close runner-up to the Latvian Radio Choir’s disc in terms of lofty expressiveness and sheer atmosphere.