If the indefatigable Valery Gergiev remains controversial for reasons as much political as musical, the Munich Philharmonic, which prospered artistically under Sergiu Celibidache between 1979 and 1996, has skeletons of its own. The extension of Gergiev’s contract well into the next decade suggests that both parties see the partnership as opening a new and fruitful chapter. The 2016 Proms appearance immortalised here doesn’t offer definitive aesthetic confirmation. The programme is too eccentric for that.

Meticulously controlled rather than jazz-inflected, Boléro’s dark implacability may impress. Behzod Abduraimov’s ‘Rach Three’ is more surprising. We’re used to Gergiev partnering barnstorming Russians like Denis Matsuev in this repertoire but Abduraimov (Uzbek-born, American-based) adds a singing tenderness and a subtler, more varied tonal palette. A pity he is placed rather forward in the mix, the sound team capturing some of his instrument’s internal mechanism. With no lack of infectious brilliance this is unmistakably an exceptional performance, outshining his studio recordings to date. The more difficult, chordal cadenza is chosen for the first movement and played superbly. The finale is slightly cut: you can see Gergiev turning over pages from 51'09".

Next we are pitched into Galina Ustvolskaya’s spare and intimidating sound world. Projecting tortured desperation rather than religious confidence, her Symphony No 3 has an actorly role for the late Alexei Petrenko. The imploring text is not subtitled although it is printed in the programme booklet, yet another which manages to discuss the works in a running order all its own. We don’t see the stage hands rearranging the seating to accommodate the suite from Strauss’s Der Rosenkavalier purportedly concocted by Artur Rodzinski. Presented in unapologetic style, the strings’ contribution is suitably lush. Of the encores heard in concert only the Hungarian March from Berlioz’s Damnation of Faust survives.

This is a no-frills production, cut down from BBC material with series music at the outset, tacky lighting in the hall and abrupt fades replacing linking commentary. Coughing is audible throughout as are the maestro’s guttural attempts at singing along. Both audio and visuals are vivid however: a Blu ray option is available.