Elgar's The Apostles is misleadingly named: its topics include Christ's betrayal by Judas, reactions to his crucifixion, the announcement of the resurrection, and his ascension to Heaven. These are explored during a sequence of seven cleverly constructed tableaux. Martyn Brabbins conducted this passionate performance with enthusiasm and commitment, yet it was not difficult to comprehend why The Apostles is one of Elgar's most unknown works.

The BBC Philharmonic's management of complex orchestral textures was masterful and insightful, but the performance was not helped by Brabbins's mistake to place the six soloists behind the orchestra. They could rarely be heard clearly, although the second tableau, featuring Judas's discontented criticisms of the Sermon on the Mount, was an honourable exception, featuring balanced textures and vivid characterisation. Mary Plazas (the only soloist in white due to her angelic role) could seldom be clearly heard. Jean Rigby battled bravely from behind the BBC Philharmonic, and her moving supplication as Mary Magdalene was matched by her passionate narration of the Ascension. Bass Paul Whelan, more accustomed to singing Bach's Christus than Elgar's Judas, was the outstanding highlight of part two: he brought out the extent of Elgar's sympathy for Judas, warm and tender rather than bitter, as he belatedly recognised the extent of his betrayal and his misconception of the Messiah.

The Huddersfield Choral Society is ideal for Elgar's broad sonorous choral writing. Although diction was at times lost in the wall of sound, their intonation and sincerity was impressive in music that demands such high standards in both areas. As the work climbed towards its transcendent climax, obvious comparisons with Wagner's Tannhäuser were brushed aside by Brabbins's gentle and poignant conclusion. The Apostles is neither concise nor immediate, yet its moody presentation of portentous events was admirably realised.