First is the inclusion of the First Symphony’s original second movement, ‘Blumine’. Had Jurowski been performing that original version with its significantly reduced (and altered) orchestration, the inclusion of the little flower movement might have made more sense. But Jurowski’s reason for including it is more personal – namely that it helps ‘connect’ the symphony with the first four in the canon, each of which opts for a slowish intermezzo-like second movement to counterbalance the first. And yes, it could be argued that after the extreme exertion of the rollicking first-movement coda – an exhilarating sprint in this performance – one needs that sentimental reverie of ‘Blumine’ to catch one’s breath. For sure it connects with the fragrant nature world of the first movement but, for all that its C major is unexpected, it’s a conspicuously inconsequential movement and stands apart from the rest of the symphony in respect of Mahler’s preoccupation with the perfect fourth in the other movements. My other caveat is Jurowski’s decision to have all the string basses launch the ‘Frère Jacques’ canon at the start of the third movement. He is not alone, of course (Marin Alsop did so recently – Naxos, 10/12), but it seems wrong-headed in terms of the cadaverous effect Mahler was so plainly seeking and has no documentary foundation so far as one knows. Plus the booklet-note writer was not advised and speaks of a solo bass.

But you may consider these minor infringements when weighed against the aural and spiritual revelation of so much else. A total transcendence of the notes on the page throughout the first movement with that feeling of the infinite wonderfully caught in the opening pages (elfin trumpets fantastically distanced) and tellingly contrasted with the arrival of the ‘wayfarer’ with a spring in his step. And then that earthy scherzo, lumpenly deliberate with even the graceful Trio sounding a shade awkward.

Jurowski ‘hears’ everything but better yet the reasons for everything. His precipitous way with tempo contrasts creates moments of high drama in the outer movements, as does his understanding of Mahler’s very particular articulation. The LPO strings are on fire in the opening of the finale; and has the second theme ever felt so naturally, honestly phrased? Its later return on cor anglais comes as a magical summation as the opening dawn is recalled. The triumphal coda was plainly patched (but still includes a fractionally late cymbal crash) but if ever there was a case for wanting the roar of applause, this is it.