Among musical long hauls that tell a story, the St. John Passion of J. S. Bach is among the most compelling.

Its account of the arrest, trial and crucifixion of Jesus has drama and - literally towards the end - silent, guarded solemnity.

With six soloists, including the narrating Evangelist, the work also calls for a heavily-involved four-part chorus and a large orchestra.

In a relatively confined space, though St Mary’s is otherwise cavernous, it can be difficult to squeeze everyone in.

But this choir and orchestra under the inspired Roger Langford never allowed logistical or musical challenges to hold it back.

Not for nothing is the GBS so named. It marked its 60th anniversary in 2011 and among its achievements is to have performed all of Bach’s church cantatas as well as music from other eras.

Langford conducted this work for the GBS ten years ago with two of the returning soloists, soprano Kathryn Jenkin and commanding tenor Philip Conway-Brown. This was just as gripping and slightly more of a piece, augmented here and there and with authentic colour provided by the orchestra of the Musical and Amicable Society. Particularly moving were the solos that followed the story's most tragic events and their specific instrumental accompaniment, such as woodwind and viola da gamba, the latter played by Imogen Seth Smith doubling cello with admirable (and practical) presence of mind in a confined space.

The chorus was conscientious and attentive, responding to its conductor’s trademark chivvying, especially at the end and in the chorales. Choir member David Baggs sang Christus with due gravity and bass Alastair Merry (Pilatus), Jenkin, counter-tenor Matthew Venner and tenor John-Colyn Gyeanty rose to their occasions. With Conway-Brown as Evangelist, already elevated to the pulpit and declaiming with passion and clarity, the scene was set for a profound musical experience.