Here’s further proof that Andris Nelsons has built up a very special rapport with the CBSO over the last three seasons. Captured live at Symphony Hall, the Pathétique receives a deeply felt interpretation as painstakingly prepared as it is beautifully proportioned. Right from the outset, one cannot fail to be struck by the healthy sheen, tasteful refinement and infectious temperament displayed by the Birmingham orchestra (which can, it seems, boast an exceptionally eloquent woodwind roster these days). Moreover, its gifted Latvian chief indulges in no eccentricities of tempo, moulds melodic lines with flexibility and imagination, and uncovers plenty of ear-pricking detail along the journey. The first movement unfolds with effortless naturalness, the sublime second subject emerging a little aloofly perhaps, though at the same time I should stress that Nelsons is not afraid to cut loose when the music demands it (at the hair-raising start of the development the violas and violins are truly feroce as marked). The Scherzo eschews flashy thrills and spills in favour of some delightful rhythmic interplay (the triplets and quavers bounce off each other with exquisite timing) and a thrilling sense of mounting excitement. Likewise, the second movement is an absolute joy (just listen to the cherishable way Nelsons encourages his strings to “lift” the second half of the main theme – it certainly made me beam with pleasure), while the finale is both noble and strong, with no trace of maudlin self-pity.

A Pathétique of conspicuous distinction, then, and it’s preceded by a comparably winning account of Romeo and Juliet. True, there are a couple of dynamic tweaks which fail to convince on repeated hearings (most notably the subito p at 12'58"), but the introduction brings supple poise (as in the symphony, bass-lines stalk with deep-rooted purpose), the main Allegro giusto adrenalin without bluster and the love music genuine radiance – nowhere more touchingly than in the coda, where the strings’ ineffably tender final reminiscence really does tug at the emotions. I have no complaints about Orfeo’s “take you there” sound, and future helpings of Tchaikovsky from Nelsons and his fired-up Birmingham band would be more than welcome.