I’ve always thought of Beethoven’s Second as the first stage on his revolutionary symphonic journey, as much a leap forwards from the First as the Third is from this D major masterpiece. Stefan Blunier cues some potent sforzandos, though the massive gesture at 1'48" that signals a harmonic sea change could perhaps have been more forcefully stated. The ensuing Allegro con brio has plenty of impetus, and I like the prominent bass-line and horns from 7'19" into the development. The Larghetto is pliable; and in the scherzo, with its Haydnesque chatter between instrumental desks, there are vivid contrasts between the movement’s singing legato and the swift, shimmering string-writing.

A very good performance then, though there are at least two digital rivals I prefer: on the period-instrument front I’d opt for Emmanuel Krivine on Naïve; but, for a fiery, lean, energetic and comprehensively expressive modern instrument version, I’d go for the late Stanisπaw Skrowaczewski and the Saarbrücken Radio Symphony Orchestra, part of his complete cycle on the Oehms label, the full-bodied and admirably clear recording dating from 2005. Among ‘historical’ options there’s Toscanini’s 1939 broadcast recording (Music & Arts or Immortal Performances), which makes you fully aware of just what a powerful and remarkable piece Beethoven’s Second is, something that no one else does with quite as much conviction.

The Fourth receives a humdinger of a performance under Blunier, swift, propulsive, very well shaped and texturally transparent. The transition from the sombre Adagio to the sun-drenched Allegro vivace is as thrilling as any I’ve heard in recent years and the finale, which flies off at a real lick, is a virtuoso tour de force, especially from the strings and bassoon. The Seventh is nearly as good, especially the Allegretto, which Blunier builds with a genuine sense of nobility. The Scherzo has plenty of bounce but I was disappointed that Blunier opted not to play the finale’s repeat, especially as he repeats the lengthy exposition in the first movement – although things aren’t quite as bad as the box back suggests: the stated movement timing of 4'42" for the finale should actually read 6'42". Still, in this particular symphony I’d opt for the hugely dynamic David Zinman and the Zurich Tonhalle as a first digital port of call. There you also have the repeat.

Blunier’s programming context for the Second Symphony is a group of five Beethoven overtures, The Ruins of Athens and Zur Namensfeier being especially good, the latter totally off the wall but a great listen. Prometheus is both lively and unpressured, which means that unlike some other recorded performances detail is relished rather than glossed over. Neither Coriolan nor Egmont quite compares with readings by such feted Beethovenians as Karajan, Furtwängler, Toscanini or Klemperer. There you feel that you’re wreathed in storm clouds atop some mythical mountain, whereas with Blunier it’s more a case of listening to fine, well-crafted music with nothing much else on the agenda. A fair enough way to spend your time, of course – provided you’re happy to scale the heights without quite reaching the summit.