Composed between 1906 and 1909, cast in three parts and lasting some three hours and 20 minutes, Granville Bantock’s thrillingly ambitious treatment of all 101 quatrains that make up the fifth and final edition of The Rubáiyát of Omar Khayyám freely translated by Edward FitzGerald (1809 83) serves up a veritable feast for the ears and imagination. Laid out for substantial forces comprising three vocalists, double chorus and a sizeable orchestra (including triple woodwinds and two antiphonally placed string choirs), Bantock’s hedonistic setting received its first performance in February 1910, with further complete outings in 1912 and 1926. Although the interwar period witnessed individual parts and various excerpts (such as the memorably evocative Prelude and ‘Camel Caravan’ from Part 1) championed by interpreters as distinguished as Beecham, Harty, Wood and Boult, Omar Khayyám was not heard again in its entirety until the present, hugely dedicated venture set down over two days in January 1979 at Studio 1 Maida Vale under the baton of Norman Del Mar. Richard Itter’s off-air tapes preserve this remarkable BBC broadcast from March 26, 1979, for which we have to thank the indefatigable efforts of radio producer Michael Pope. If the results occasionally lack the orchestral and choral sophistication that Vernon Handley achieved on his typically lucid and eloquent 2007 Chandos set (also with the BBC SO, 11/07), Del Mar’s admirable soloists arguably sing with the greater urgency and passion. Most significantly, however, it scores over its more modern rival in being absolutely uncut, thereby allowing us to hear around 20 minutes of extra material – much of it wholly characteristic and highly attractive.

There are three additional items, all recorded by Del Mar with the BBC Scottish Symphony Orchestra and first aired on August 7, 1968 (the composer’s centenary). Inspired by Robert Browning’s eponymous poem, the headily voluptuous Fifine at the Fair (1912) helped keep Bantock’s name alive, thanks in no small measure to Beecham’s famous (albeit slightly pruned) 1949 recording. Del Mar’s reading may not match either Beecham’s or Handley’s admirable RPO account (Hyperion, 3/93) for sheer allure, but its keen spirit and red-blooded temperament are never in doubt. The same goes for the endearing 1908 comedy overture The Pierrot of the Minute (which Del Mar later recorded with the Bournemouth Sinfonietta for RCA, 12/79) and an abridged performance of that intoxicating 1906 song-cycle Sappho with contralto Johanna Peters (whatever you do, though, don’t miss Handley’s stunning version of the complete sequence with mezzo-soprano Susan Bickley).

I should add that Rob Barnett’s comprehensively detailed annotation contains a wealth of fascinating information and insight, and Mike Clements’s watchful restorations fall most sympathetically on the ear. All told, a hugely enterprising addition to Lyrita’s ever-growing catalogue; Bantock addicts will require no further incentive to purchase.