The results, to my ears, are disappointing. Playing all but the coda of the first movement in the same unvarying pulse has a certain logic to it but in the final analysis it trivialises the music, allowing structure to take precedence over whatever one chooses to think of as musical meaning. The playing of the slow movement offers a comparably featureless landscape. The stilled horn transition at bar 158 (‘Ask not for whom the bell tolls…’) slips too easily by and the movement’s tragic climax is neither tragic nor entirely climactic.

Dohnányi’s performance takes on a rather more human face in the third movement’s Trio and in the finale, where his direction is buoyant, unrushed and more rhythmically fluid than in the first movement. But even here it is a rather unvarying performance: too genteel to admit of any real difference between Schubert’s forte, sforzando and double forte markings.

For all that it dazzles and exults, there is a deeper, darker side to the Great C major: a sense of harvest home after human toil. I hear that in the glowingly wrought yet still-living recorded performances of Furtwängler and Böhm. But not here.