Leif Segerstam’s Sibelius symphony cycle for Ondine concludes with this meticulously observant, keenly pondered reading of the Fourth. The Finnish maestro on the whole adopts more flowing speeds than on his earlier Chandos recording and, as before, there are plenty of imaginative touches. In the second movement Segerstam distils a potent unease that pervades even those two tranquillo passages at 7 after fig E (1’46”) and fig F (1’58”); I like, too, the Helsinki orchestra’s ‘throaty’ marcato violas at 11 before fig L (3’23”) but he perhaps rather overdoes Sibelius’s three poco ritardando markings in the first half of the movement (beam to 14 after fig A or 0’21” and decide for yourself). Likewise, the slow movement brings much to admire, not least some luminously sifted textures (a Segerstam trademark) and hauntingly poetic wind playing. On the downside, Segerstam allows momentum to slacken in the symphony’s closing pages.

Taken overall, this is an undeniably powerful if slightly self-conscious statement; Segerstam’s admittedly less polished Danish National RSO version perhaps conveys marginally greater involvement and spontaneity. However, both performances certainly deserve to be heard by all discerning Sibelians and at the very least merit a place alongside a formidable array of rivals.

As for the couplings, Segerstam gives a broodingly atmospheric and masterfully paced account of Pohjola’s Daughter. In its epic countenance Segerstam’s view is fascinatingly different from Sakari Oramo’s unusually fleet and dynamic CBSO version, but it’s only fair to point out that both are in turn trumped by Sir Colin Davis’s magisterial Boston SO account (which – three cheers! – has finally resurfaced on a low-price Eloquence CD from Australian Universal Classics). The disc closes with a strongly characterised and invigorating Finlandia, featuring a splendidly alert contribution from the Polytech Male Choir.

So, a stimulating final instalment in what has proved a frustratingly uneven series. Ondine’s engineering is very good rather than exceptional, with woodwind balanced a trifle too closely for my tastes.