THIS is the lesser of Bach's two Passion settings that survive; two are lost, probably irretrievably.

The ones we have contain dramatic music that suggest an operatic composer waiting in the wings.

The conductor, Geoffrey Weaver, was of this view, insisting on a long, effective silence after It is finished.

For the audience it was not, which is why the diction of the Evangelist (Jason Darnell) was fortunately superb. It needs this, or the crib provided in the programme, to keep the attention of a modern audience not easily held by long stretches of recitative.

Quentin Hayes was good in the same way. Of the ladies, the soprano (Natalie Clifton-Griffith) was more fortunate than the mezzo (Alexandra Gibson) only in the sense that the latter had an aria showing Bach in rather academic mode, whereas the former, accompanied by two flutes (Diane Clarke and Alison Chadwick playing as one) had the advantage of an easily taken melodic line. Completing this competent line-up was Tom Dupernex, rising from time to time as Pilate.

The chorus? Splendidly full-voiced as ever, coming in with a bang after that tone-by-tone, rising-and-falling, grieving howl of an orchestral introduction. (How marvellous Bach's openings are!)

There was a cut here, as also some generous ones later on, to bring the performance down to a tolerable length; but no matter, chorus and orchestra were there at the end to send us away with a finish as solidly satisfying as any Old Bach ever produced.

AJL