No doubt about it, Sakari Oramo is an Elgarian of strong instinct, and this abundantly characterful, cannily paced and deeply sincere traversal of the mighty Second Symphony has a lot going for it. Not only does the Finn draw playing of conspicuous finesse and commendable ardour from his meticulously prepared Stockholm band (whose thrusting horns in particular cover themselves in glory), he brings a keen temperament, architectural grasp and evident love to the task in hand; tears spill from the slow movement’s heart-rending climax at fig 86 (11'42"), the descending violins astutely heeding Elgar’s vibrato and glissez markings.

The observant Oramo also manages to illuminate numerous flecks of exquisite detail within Elgar’s wondrously subtle orchestral canvas: the strings’ tremolando shudders at the outset of that unnervingly sinister episode at the first movement’s core really do ignite the imagination (try from fig 26 or 6'27"); and how glintingly transparent are the textures in the helter-skelter outer portions of the Scherzo (which fairly crackles with tension, teasing wit and excitement here). More questionably, Oramo adds a full organ for the finale’s towering summit at eight bars after 165 (11'48") and not merely the 32- or 64-foot pedal sometimes deployed by Elgar himself. The BIS engineers have come up trumps once again with some extraordinarily faithful, dynamic and superbly well-lit sound, though it must also be said that the actual acoustic is slightly dry and a touch lacking in kindly glow.

So, while my loyalty to the composer (LSO, 1927), Boult (with the BBC SO and LPO from 1944 & 1956 respectively), Barbirolli (Hallé, 1964), Solti (with the LPO, on CD and an unmissable ICA Classics DVD), Slatkin and Andrew Davis stands firm, this invigorating newcomer certainly merits investigation by any Elgar aficionado who fancies a fresh view. Memorably pliable and tender readings of Sospiri and the ineffably wistful Elegy for strings round off a highly accomplished release.