Among the many reforms and amelioration of standards Stainer brought to cathedral music was a recommendation of bigger choirs to suit larger ecclesiastical spaces. This style of performance by the Huddersfield Choral Society under Joseph Cullen’s highly sensitive direction provides a vital instance of how The Crucifixion was conceived – that is, to be sung with romantic, emotional conviction, by a choir that revels in the sound of rich, chromatic harmony. Much of the mystical spirit of The Crucifixion is derived from its Tractarian heritage and, more to the point, from the treasure-trove of the mid-Victorian hymn repertoire, so characteristic for its colourful, devotional harmonic language. Stainer’s hymns – all winners – are full of such vibrant artistry. Indeed, it is abundantly clear that, sung with such sincerity, The Crucifixion has none of that saccharine sentimentality for which it is still often accused.

Executed as it is here with fervour, in the passionate solos by Andrew Kennedy and Neal Davies (the best I’ve ever heard them), the bold organ accompaniments (often underplayed) provided by Darius Battiwalla, and expressive choruses such “O come unto me”, the work has considerable expressive power. This comes through vividly in the “Processional to Calvary” where, besides the clarity of the text, the dynamic shades give the interpretation life and vivacity. Similarly, the a cappella gem of the work, “God so loved the world”, has a moving poignancy. Just occasionally there is a slightly flat edge to the soprano and tenor lines but this by no means detracts from the impassioned romanticism of this performance which other “cathedral type” recordings, beautiful as they are, sometimes lack.