The Byzantine Akáthistos Hymn probably dates from the early 6th century and comprises 24 stanzas, one for each letter of the Greek alphabet. Moody’s is believed to be the first complete setting of the hymn, a meditation on the Virgin Mary, since medieval times.

Moody has combined authentic Byzantine melodies with some he has composed himself, suited to this English translation of the hymn. His use of voicings, influenced by Russian Orthodox choral traditions, gives a ‘chestier’ quality to the music than we normally expect from contemporary ‘Holy Minimalists’ such as Tavener, with whom Moody studied, or even from plainsong. The ancient Byzantine modes (codified in the 8th century but extant for several centuries before), the intervals, the occurrence at crucial points of expressively flattened pitches, the graceful arc of the phrases and the use of pedal tones or drone effects: all strongly evoke Indian music – though their real roots probably lie in Persian tradition.

Somewhat ironically, the strictures of the Church authorities against making music too attractive, and thus taking the worshippers’ thoughts away from the devotional purpose of the liturgy, produced music of such purity and radiance that, to modern sensibilities at least, the beauty of the sound is a sensuous pleasure which is its own justification, regardless of the intention of the text. Moody’s realisation is sinfully lovely. Cappella Romana specialises in the Slavic and Byzantine traditions, so the excellence of this performance is no surprise: the soloist is the aptly named bass-baritone John Vergin.

As if 96 gorgeous minutes of the Akáthistos Hymn were not value for money, the album is rounded off with a shimmering performance of O Tebe Raduetsya, Moody’s 1990 setting of another hymn to the Virgin, this time from the Russian Orthodox tradition.