If Leonard Bernstein could write his theatrical Mass and an ecumenical Chichester Psalms, what’s to stop a nice Episcopalian boy like Thomas Beveridge from writing his Yizkor Requiem, a musical juxtaposition of the Jewish and Catholic memorial services? Indeed, the spirit of Bernstein hovers over the proceedings, with a few sprinkles of Verdi, Fauré, Stravinsky and Shostakovich to taste. But no matter how many voices clutter the background, the guiding personality is still Beveridge, who conceived the piece as a tribute to his choirmaster father.

Musically as well as theologically, the piece focuses less on mere juxtaposition than on actual integration. The text goes right to the source of the respective traditions, finding relationships and commonality in the roots of the Latin and Hebrew languages, which are extensively illuminated in the booklet-notes. Although he avoids any traditional tunes, Beveridge draws heavily on a handful of intervallic motifs, spinning an unapologetically tonal web where both traditions remain recognisable even as they point towards something new.

A former student of both Randall Thompson and Walter Piston, Washington-based Beveridge clearly knows how to put both orchestra and chorus in their best light. Rabbi Rodney Mariner offers a commanding presence, and Sir Neville Marriner (no relation) conducts his musical forces not just with musical respect but apparent love.

Unlike a lot of compositions released under the umbrella of the Milken Archive series, this work is strong enough to stand alone without the programmatic context of ‘American Jewish Music’. Really, though, any excuse to hear the piece performed with this level of musicianship is fine.