Released in support of the newly created Diamond Fund – a charity founded to support choristers and chorister-training – the disc offers the full Anglican chorister experience in microcosm. All the cathedral classics are here, from Tallis to Rutter, with plenty of Stanford, Handel, Walton and Mendelssohn sandwiched in between. It’s an evocative repertoire list, and one with plenty of opportunities for the cathedral’s superb trebles to shine, both collectively and as soloists.

Perhaps inevitably in St Paul’s, it’s the Victoriana that really stands apart, gilded and filtered into soft-focus loveliness by the cathedral acoustic. The cadences of Stanford’s Justorum hang gauzily in the air, while Balfour Gardner’s Evening Hymn surges thickly, gleaming rich as stained glass.

The space also works its magic on the cluster chords of Mealor’s Ubi caritas – one of a select handful of modern classics that also includes Goodall’s The Lord is my shepherd and Rutter’s Gaelic Blessing (a second, souped-up version of which with Aled Jones is a major misstep).Treble Nathaniel Morley leads both the Goodall and Mendelssohn’s O for the wings of a dove with wonderful ease and musicality – just one of a selection of excellent soloists. Both Tallis’s Salvator mundi and Weelkes’s Hosanna to the Son of David however feel rather clotted, their counterpoint sticky and slow in this space.

For four tracks (including Zadok and I was glad) the St Paul’s Choir are joined by 50 choristers from across the UK, representing cathedrals from Aberdeen to York Minster. It’s a glorious, precise sound – awesome in the truest sense – and a wonderful opportunity to showcase the girl choristers who have recently joined their male counterparts. It’s a shame that neither this trend, nor the arrival of grown women into the back stalls, gets much of a mention in booklet-notes and album art still wedded to the idea of small boys in ruffs.