The competition's tough but this new performance of The Music Makers (one of Elgar's most poignant and troubled utterances, which movingly incorporates material from some of his greatest compositions) can hold its head high. Simon Wright steers a commendably clear-sighted course and coaxes an idiomatic response from his Bournemouth forces.

Elder's recent Hallé version may be both more volatile and refined but is not untainted by a certain squeaky-clean self-awareness; nor is his chosen mezzo ideally cast. Andrew Davis penetrates more unerringly to the work's vulnerable core but his nobly compassionate reading is now only available as part of a five-CD set (albeit at super-budget price). On his famous 1966 recording Boult paces the music to perfection - and he has the inestimable advantage of Janet Baker at her peerlessly eloquent best. But Sarah Connolly proves scarcely less raptly responsive, singing with glorious radiance, security and richness of tone; her delivery of the final line (“And a singer who sings no more”) is deeply affecting.

Connolly also steps up to the mark in the Sea Pictures (which follows after too short a gap). Hers is a gripping, intelligent display, combining keen poetic and dramatic instinct with clarity of diction, all technical challenges effortlessly surmounted (her climactic top A in “The Swimmer” is thrilling). Perhaps the opening “Sea Slumber-Song” might have moved on a fraction more (and here I'd have preferred a greater delineation of mood between Elgar's Andantino and Tranquillo markings); otherwise, I have no qualms with either Wright's observant, flexible backing or Naxos's airy yet transparent sound (organ pedal and bass drum register to subtly telling effect).

As for rivals, well, for me Baker and Barbirolli (on mid-price EMI) remain unassailable but Connolly's resplendent and communicative Sea Pictures demands to be heard.