A German Gerontius: and, after all, how apt. As we are reminded almost first thing in the leaflet, it was in that language that the work had the first performance worthy of it. The original translation by Julius Buths is exceptionally faithful and fitting and, whereas an Italian or French choir might not take to the music so naturally, the choir here come to it almost as they might the work of a compatriot. In 1960 Julius Patzak was 62 and nearing the end of his honoured career. The voice here has unmistakably aged, but just as unmistakably it is still the voice of Patzak. The qualities that made him a great Florestan are still there to make him a great Gerontius. And the age, like the language, is apt.

The other soloists, well known in their time, are less distinguished; the chorus, however, shines. Their quiet entry with the “Kyrie eleison” and “Pray for him” sequence is most beautiful, as is the sound of their awed voices in the chorus of souls in Purgatory. Hans Swarowsky conducts with feeling and authority, and the only pity is that the great fortissimo of “Praise to the Holiest” is muted. This is Vol 6 of the Elgar Society’s “Interpreters on Record” series. Readers may like to know that it is issued in memory of our late colleague Alan Blyth, who lent his support to the project when the visitant was “knocking his dire summons” for him as for Gerontius himself.