By calling Paavo Järvi’s Beethoven Fifth a front-runner, I intend the reference more as a reflection of fast pacing, brilliant playing, high energy levels and a sleek profile than as a guide to the CD’s standing among its best rivals. This is a punchy but in some ways partial view of the symphony, the opening movement played so that the all-pervasive four-note motif sounds obsessively insistent. As presented here the arguments are taut and unrelenting, the textures light and transparent. Telling detail is plentiful, at 4'04" for example, just before the big oboe solo, where you really hear the bassoon’s countersubject. The next-to-no-vibrato policy is at its most obvious at the beginning of the second movement, which is swift and super-cool, but beam up from 3'15" and those Bachian running lines are kept crystal clear with arching woodwinds above them. The effect is quite magical and I was glad that when the climax arrives, you can still hear the lower strings.

There’s a real fizz to the Scherzo’s fugal Trio but come the finale (with repeat) certain affectations start to intrude. By that I mean the odd stressed countermelody, cosmetic diminuendos and, with the arrival of the heroic development section, the way the strings keep a low profile for the sake of the busy accompaniment. It’s all a bit fussy. The slowly accelerating piccolo trill at 8'43" is too conspicuous, and the contrast between staccato strings and legato winds at 5'28" too obvious.

Claudio Abbado once said to me, “if a detail stands out, it’s already too much”. At the time I wasn’t entirely sure what he meant but now I understand perfectly. His latest BPO Fifth (DG, 11/08), a fairly conventional reading by Järvi’s standards, avoids any suggestion of prissiness. Certainly his finale leaves the more powerful impression.

Järvi’s persistent highlighting of detail is fine for the occasional encounter but not so good for repeated listening. The same goes for the expressively arpeggiated pizzicato chord at the start of the First Symphony (I presume it was intentional), a generally dapper performance, sparkling and alert, and with dramatic acknowledgement of the way the Andante changes complexion midway through (from around 3'15" – though is this really cantabile con moto?). The outer movements really fly along. It’s all very enjoyable, short-term, like tasty fast food – and the playing is superb. But already I’m hungry again. Zinman, Norrington, Carlos Kleiber, Dorati (LSO) or indeed the latest Abbado should put that right.