Ein Heldenleben and Metamorphosen, though written at opposite ends of Strauss’s long career, make an ideal coupling, as both were directly inspired by Beethoven’s Eroica Symphony. The warm strength of the key of E flat is at the root of Heldenleben too, while Metamorphosen, reflecting Strauss’s pain over the wartime destruction of so much he loved in Germany, repeatedly and movingly quotes the Eroica’s Funeral March. Aptly too, the orchestra is the Dresden Staatskapelle, Strauss’s favourite, responsible for many Strauss performances.

In this new version of Heldenleben, Fabio Luisi (looking in the cover photo disconcertingly like Dr David Starkey) has opted to go back to what he describes as the original ending. This was Strauss’s first idea, never published, of ending the piece pianissimo. It was only later, realising that the response of audiences would be greater from a loud ending, that he was persuaded to append the now usual ending, adding some two dozen bars with fanfares and a final fortissimo chord.

Luisi proves an outstanding Straussian, drawing passionate playing from the orchestra, as flamboyant in Heldenleben as anyone would want, and darkly intense in the valedictory paragraphs and complex counterpoint of Metamorphosen, though the recording makes it sound as though more than 23 strings are playing. In Heldenleben Luisi is excellent in bringing out the massive structure of the work like a gigantic sonata form, quite apart from the programmatic element. Kai Vogler proves an outstanding violin soloist in the role of the Hero’s partner, a clear portrait of the volatile Frau Strauss, here played with just the right degree of spontaneous flexibility. The recording is exceptionally full and brilliant, to match the resonant beauty of the playing.