Bernd Alois Zimmermann's Ecclesiastical Action is a work haunted by the history of its own genesis: in August 1970, five days after completing the score, Zimmermann killed himself. The oratorio is in keeping with his output, which deals uncompromisingly with the spiritual and political crises of the late 20th century, but it is hard not to think of it as a suicide note.

Written for bass-baritone, two narrators and a large orchestra, the piece draws from the Book of Ecclesiastes, combining its invective against social injustice with an abridgement of the parable of The Grand Inquisitor, from Dostoevsky's The Brothers Karamazov. In it, Dostoevsky explores disparities between Christ and his church, and the latter's failure to acknowledge that freedom of moral choice is integral to the human condition. Zimmermann was a devout Catholic for most of his life, but in Ecclesiastical Action, the sense of a final collapse of faith is absolute.

Owing to the strain it places on musicians and listeners alike, the work is rarely performed; and Vladimir Jurowski and the London Philharmonic must be commended for tackling it, in a sparse semi-staging by Annabel Arden. Jurowski impeccably revealed the control with which Zimmermann develops his material. Omar Ebrahim and Malcolm Sinclair were the fiercely committed speakers. Dietrich Henschel sang like a man possessed, making for an unforgettable performance.

Brahms's German Requiem was its companion piece, deliberately chosen for its message of comfort that offset Zimmermann's nihilism. Among the high points were Henschel's intense baritone solos, and some beautifully focussed choral singing. Miah Persson, unaccountably tremulous, was the disappointing soprano.

• What have you been to see lately? Tell us about it on Twitter using #GdnGig