This significant and highly enjoyable release offers a generous cross-section of both well-known and hitherto neglected repertory by, arguably, the most important 19th-century composer of Anglican choral music, Samuel Sebastian Wesley.

I’ve always compared him to his near contemporary, that other indomitable, pioneering late Georgian spirit Isambard Kingdom Brunel. In a peripatetic and oft-troubled career, ‘Steam Ship’ Wesley expended considerable time and energy combating the machinations and ignorance of clerical authorities, several of whom were worthy of Trollope’s slimy clergyman Obadiah Slope, while trying to raise the dire levels of musicianship within the established church. He provides that important link between Attwood and Parry and his inventive, harmonically daring choral music has rightly been constantly cherished since his death in 1876.

Fastidiously curated by Wesley’s biographer Peter Horton, the main novelty here is the premiere recording of the Credo from the Communion Service. Taken at a sprightly pace, it is notable for some vivid word-painting (‘And the third day’), a particular Wesleyan strength.

The microphones pick up the vibrant tone of The Choir of Holy Sepulchre at some distance. This enhances the more dramatic moments, for example the explosive final section of Blessed be the God and Father. Blessed with some outstanding solo voices, Toby Ward generally favours an energetic approach and a bright sound. The extended anthem Let us lift up our heart is outstandingly good, and who could fail to be moved by so many melting suspensions? The tenors excel in their soaring lines in O give thanks, and the soprano solo ‘O who can give thanks’ shows Wesley composing something superior to anything in a similar vein by Mendelssohn.

St James Church in Bermondsey possesses a historically correct organ by JC Bishop in an almost unaltered state. Richard Gowers’s sterling support reaches its clattery zenith in The Wilderness, a fine performance that doesn’t quite have the gloss and beauty of Stephen Layton’s version (Hyperion, 10/23).

Other highlights include an exquisite Wash me throughly (with a fabulous organ introduction) and a revelatory early treatment of The Old Hundredth. How fortunate Wesley is to have such enthusiastic advocacy.