Adapting Schumann’s metaphor for the Fourth Symphony, “a slim Greek maiden between two Norse giants” (the Eroica and Fifth symphonies), I’d say that Paavo Järvi’s DKB performance more suggests Olympian athletes on a high, racing the Allegro ma non troppo finale with such skill and deftness you could easily imagine them carrying on for ever without tiring. Järvi’s performance is very “high-spec”, curvaceous and immaculately finished with mini-crescendi adding colour to the line, alert woodwind solos (terrific lead bassoon), clearly divided string desks and some interesting textures – for example the quietly swelling timpani 7'51" into the development section and the hollow rattle of hard sticks a few bars later. Maybe the Adagio’s tread is a little too strict-tempo but I liked its overall bite and buoyancy. The Scherzo is admirably flexible, the basic speed eased just a little for the Trio, and the finale is the usual heady moto perpetuo, dazzling in its way but to my ears losing power through excessive haste (though Järvi takes his cue from a very fast metronome mark).

The Seventh Symphony subscribes to a similar interpretative formula, with a superbly balanced introduction: one of Järvi’s great strengths is the way he allows instrumental choirs to intertwine, always seamlessly and sensitively (try the poco sostenuto introduction). The first movement’s Vivace dances irresistibly, accompanying figures always brought fully to life and the Allegretto second movement generates the requisite intensity. Järvi’s Scherzo has a balletic feel to it, the Trio swift without sounding breathless. It’s interesting how all four movements follow almost immediately on each others’ heals, which accentuates the dancelike character of the music, an impression nicely rounded off by a well paced finale that is more elegant than demonic.

The sound quality is warm and intimate, and if there will be times when I prefer to trade the sleek, handsome contours of Järvi’s Beethoven for something more rugged and momentous I anticipate returning to these performances with pleasure.