A rare coupling here of Brahms’s most gloriously lyrical symphony with the finest of the four, with its exalted finale, a Passacaglia which in essence is almost certainly the greatest set of variations outside the music of Bach. Dohnányi has its full measure, with every detail revealed in a perceptively paced onward flow moving to its exultant apotheosis. Flautist Richard Adeney once told me that the espressivo flute solo which comes about a quarter of the way through the movement is one of the most musically demanding passages in the repertoire and it is played here with just the right balance between intensity and repose. The opening movement, gripping in its lyrical simplicity, is also very successful, and the Andante (with another lovely poco espressivo as the coda approaches) makes a richly expressive counterpart to the exuberantly volatile Allegro giocoso Scherzo. In short, this is a most enjoyable performance, and the recording, made in the Queen Elizabeth Hall, is well balanced (by Mike Hatch) and satisfying.

Alas, the Second Symphony is a disappointment. The Festival Hall recording is much less satisfactory and the orchestral detail far from vivid. Dohnányi is inclined to lumber in the climaxes of the exposition in the opening movement following an unradiant opening, and after a warm but not really memorable Adagio, the Scherzo has limited charm. The work’s highlight is the finale, with a surging flow of energy; and the closing pages carry the day with passionate, enthusiastic aplomb. But it is the Fourth Symphony one remembers here.