There’s much to admire in this new version of a much-recorded work, not least Herreweghe’s keenly judged tempi and delicate, chamber-like way with the orchestral part, which allows us, in a well ventilated recording, to hear every detail of the magical scoring finely played by the conductor’s own orchestra.

Then there is the superlative singing of Dietrich Henschel, who seems to go from strength to strength in Lieder. He brings to the dramatic songs a lively feeling for the texts and a vocal brio that places him among the most convincing male advocates in this work. He also sings “Wo die schönen Trompeten blasen”, that marvellously evocative piece, with subtle feeling, but I prefer that given to the soprano, or better still, shared between the two singers, each acting their part.

Chailly divided the songs among four singers, which worked rather well, but Matthias Goerne’s grainy, over-vibrant singing was a distinct drawback. Here Henschel’s partner is the admirably alert and warm-toned Sarah Connolly. The problem is that most of the songs assigned to her are better suited to a soprano. The exception is “Urlicht”, later included in the Second Symphony. It ends the disc, and Connolly sings it with suitable gravity, but the finale to the Fourth Symphony, which doesn’t fit in well with the rest of the set, demands a light soprano.

Among available versions, Abbado’s may be the safest if not the most exciting choice but I long for the return of the Bernstein (6/89) where Lucia Popp is far more moving than her rivals in the sad pieces, and joyful in the lighter ones. Come on, DG, let us have it back in the catalogue! For all that, the Herreweghe may please many for its deft conducting and Henschel’s superbly alert contribution.