Sir Colin Davis has become one of our leading Elgarians, his LSO recordings of the two symphonies generally admired. Now he adds Gerontius and again confirms his empathy with the composer. His is a deeply felt, thoughtful and, where needed, highly dramatic interpretation of an indisputable masterpiece.

In the performances from which this recording is drawn he was faithfully and energetically supported by his superb chorus and orchestra. Details are pointedly delineated and the broader canvas splendidly enacted, especially in the two great central choruses. I question only the slow speed for the final consolatory solo and chorus, which lacks forward movement, and the final “Amen” is unconscionably prolonged. But that hardly detracts from Davis’s grand yet sensitive view of the work.

Why then do I not put it quite in the class of the three classics listed? Largely because of the inadequacies of some of the solo singing. David Rendall, a late replacement for Ben Heppner, is a musical, straightforward Gerontius, but the insistent beat in his voice and tightness in his upper notes are drawbacks that will not make me want to listen to his reading very often. He is not in the class of the strong-voiced, impassioned if slightly extrovert Arthur Davies in the admirable Hickox version. Neither matches the classic portrayals of Richard Lewis (Barbirolli), even more Heddle Nash (Sargent), especially chosen by Elgar to sing the part in 1930. Both use the words in an inward way recent tenors fail to manage.

Von Otter offers a deeply felt and sensitively sung Angel but her voice lacks the essential low mezzo tones the part calls for and that Janet Baker (Barbirolli) and Gladys Ripley (Sargent) provide. Davis’s bass, Alastair Miles, provides just that authority and understanding.

The Hickox version provides a more spacious and, paradoxically, more immediate sound than the LSO set (Barbican acoustics?). Between Hickox and Davis there is little to choose, but at mid-price Hickox offers a bonus in Parry’s Blessed Pair of Sirens. Returning to the 1964 Barbirolli version, I was amazed how warm and atmospheric it still sounds. The inspired, fiery pioneering Sargent set of 1945, finely remastered by Testament, has a marvellous account of the Cello Concerto by Tortelier as an additional come-on.