The English composer Francis Pott (b1957) describes his Christus – a Passion symphony for organ – as a ‘once-in-a-lifetime phenomenon’. Composed between 1986 and 1990, this monumental treatment of a monumental topic is (to quote Pott) ‘concerned with motivic unity and evolving tonality arising from a deep interest in Nielsen’s symphonic methods’.

Lasting just over two hours, the five movements trace the Coming of Christ; Gethsemane; the Via Crucis/Golgotha/the Deposition; the Tomb; and the Resurrection. Signum’s handsomely produced booklet helpfully contains six pages of closely detailed notes and music incipits to guide the listener but it will take several hearings to grasp the scale and complexity of the piece. I have heard it through five times now and find it growing on me more and more. What of the idiom? Challenging, certainly, clinging to a vestigial sense of tonality, with glimpses of gritty radiance, moments of languor, all supported by a tremendous feeling of solidity. In addition to Scandinavian influences, Dupré, Alain and a little Messiaen also creep in (particularly in the faster moments). My main complaint is that Pott simply ‘goes on’ too long. There were a couple of instances when the musical flow had – to my mind – reached its natural conclusion, only to be followed by an unnecessary codicil.

Without a score it is difficult to judge how much detail is being swamped by the acoustic, the heavy registrations and the force and passion of Jeremy Filsell’s inspired advocacy. There would appear, however, to be few (if any) slips. The Jones organ copes wonderfully with the demands of the piece and recording engineer Andrew Post has managed almost completely to avoid any ‘noises off’. This authoritative account will surely be a benchmark for years to come.