Over 20 years after his first recordings of these symphonies, John Eliot Gardiner appears to have heeded Leopold Mozart’s words: “Each tempo, slow or fast, has its gradations.” Look to the slow movements first and the dotted semiquaver/demi-semiquaver opening theme of No 39. Its rising phrases are sinuously inflected, in stark contrast to the sharply accented ones in the F minor transition to the second subject. Yielding lyricism gives way to tighter control. Gardiner’s lack of rigidity expresses changes, yet the music moves at the prescribed Andante con moto. He’s no different in the Andante cantabile of No 41 with muted violins and violas; and, again, a tense transition to the second subject.

The other movements have gradations too. The Minuet of No 39 is more expansive than of yore, Gardiner even allowing Rachel Becket (flute) and Guy Cowley (clarinet) to embellish their parts in the Trio. And, despite rapid tempi, both finales have nuances not heard in the previous recordings. This time Gardiner doesn’t repeat the second part of No 41’s finale but he is still mightily impressive. Indeed, impressive performances all round but the full might of the orchestra hasn’t been captured: bassoons, cellos and basses are ill-defined. Nevertheless, this is a fine adjunct to Charles Mackerras, who sets the scene with a brazen double-dotted introduction to No 39. And the splendour of Linn’s SACD recording does his dynamic interpretations proud.