You can quibble over the details, but when it comes to adult, mixed-voice choirs – chamber, chapel, church or cathedral – the English sound is, for better or worse, a standardised affair. There are a few outliers (I Fagiolini; BBC Singers; Exaudi) but otherwise all are within millimetres of one another in pursuit of a particular tone and colour we all recognise.

Step forward The Bevan Family Consort – an off-duty ensemble with nothing to prove and no interest in toeing the line. The Bevan musical dynasty – England’s answer to the Von Trapps – has been woven through the fabric of British musical life for decades. Back in 1975, the original siblings banded together to form the Bevan Family Choir and released their first LP. Now a new generation of cousins, a mixture of 15 amateur and professional singers led by household opera-names Sophie and Mary Bevan, have rebooted the project.

Vidi speciosam, conducted by Graham Ross, is a homage to David Bevan – linchpin of Bevan musical history, and responsible for shaping a distinctive legacy and style at Our Most Holy Redeemer in Chelsea. Repertoire reflects his tastes, and booklet notes (and the odd new edition) by Francis Bevan tie works by Palestrina and Victoria, Holst and Stanford into a very personal family narrative.

It’s a refreshingly old-fashioned recital. Classics (and the odd surprise) with Victoria’s Missa Vidi speciosam as the centrepiece are delivered with care, musicality and bags of personality. No pinprick sopranos here but soft-focus haze and blossomy, full-throated warmth: the Raymond Leppard of choral tones. The top line sets the tone for all below, but the men come into their own in plainchant that ebbs and flows with instinctive, well-trodden ease.

It’s an approach better suited to some works than others. Lobo’s Versa est in luctum takes on almost Straussian lushness, and both Holst motets – the upper-voice Ave Maria and the expansive Nunc dimittis – radiate and shimmer, as does Stanford’s lovely Beati quorum via, growing from delicate beginnings to the full Victoriana. Greater contrast between these and the craggier Spanish Renaissance works and Tallis’s brooding O sacrum convivium would offer more light and shade, but it’s a gorgeous, eminently listenable disc. And, judging by booklet credits to babysitters, the next generation of Bevans is already under construction: watch this musical space.