Vividly scored and dynamically expressive, Tubin’s symphonies span almost his entire creative career. The First, only his third orchestral score, dates from 1931-34 and the single-movement Tenth from 1973, while at his death nine years later an Eleventh lay unfinished on his desk. When Neeme Järvi recorded Tubin’s symphonies for BIS, this last – in a performing edition by Kaljo Raid – was omitted, premièred later on disc by Volmer (1/96). Ironically, Paavo Järvi’s followed on Virgin (5/97).

Even without the Eleventh, for which room could – and should – have been found, the BIS set has much to commend it. The performances, variable in acoustic, are remarkably consistent in approach and quality of execution. Järvi’s commitment to and understanding of the music was total and its quality shines through in every bar, whether in the early symphonies where Tubin was still moving towards his mature style, or Nos 5 to 8 with their absolute mastery of form. OK, even Järvi cannot avoid the Third’s peroration sounding like The Pines of Tallinn, but there is no doubt of the work’s or its creator’s stature.

Although repackaged from the original issues, BIS avoided laying the symphonies out in chronological sequence (they would have fitted fairly neatly). The recordings still sound wonderful, although some seem very spacious when set against Alba’s. Comparisons of the Eighth (1966) are particularly pertinent in this regard, where Alba’s struck me as the more natural. In interpretation, Volmer’s broader tempi contrast markedly with Järvi’s to the extent of more than two minutes’ playing time. Järvi never sounds rushed, however, and his less demonstrative approach in the opening Andante quasi Adagio (just listen to how different in texture the opening measures of both versions are) builds ultimately into the more impressive edifice. If Volmer finds added depth in the quicker central spans, Järvi is unmatched in the deeply felt finale.

Yet I preferred Volmer’s approach in the more expansive First Symphony, much as I did in comparing the two accounts of the Sinfonia lirica (9/02). There is little to choose between them in No 1’s first two parts, but Volmer’s more measured speeds in the sustained and majestic finale pay dividends. Overall, Järvi’s set remains first choice, especially at this price, but Volmer’s accounts are running them very close indeed.