There is an ecumenical irony to the appearance of this German Requiem, in Reformation anniversary year, from a seat of the Catholic High Baroque – and where Bruckner, of all people, spent hours in service and private devotion. However, it is the quality of humble devotion so germane to the work that distinguishes the sober but never staid conducting of Franz Welser-Möst. Pacing is well-nigh perfect, marginally more spacious than on the feast of All Souls in 2009, when choir and orchestra performed it together in Vienna. Simon Keenlyside was also the baritone soloist on that occasion; at St Florian he was in sound if somewhat uniform voice, lacking (unlike Hanna-Elisabeth Müller) a spot-mic to focus his part.

Renewed over time and stylistically up to date, adorned (in the soprano and alto sections) with shawls, smiles and the odd nose-stud, the Vienna Singverein is now a far cry from the days of Karajan’s loyalty to them beyond the call of duty, though in maintaining pitch and energy through this most unrelenting of repertoire choral works the singers are greatly aided by the flowing tempos and clipped phrasing of the fugues favoured by Welser-Möst. Squeezed into the space before the altar, The Cleveland Orchestra are usefully reduced to almost chamber-orchestra dimensions.

The audio mix spotlights solo winds and harp but also offers enough of the space of St Florian for a harmonious marriage of sound and image. Filming, too, rarely puts a foot wrong. For the great crescendo over ‘I place my hope in thee’, the picture cuts to the roof of the abbey and pans reverentially down to a Marian painting (the loss of rhythmic control in the second half of the subsequent fugue is a rare glitch). There are no extras, and none are needed.