It’s a pity the conductor has not so far set down his interpretation of the Sixth, a symphony he champions in the concert hall. Listenable as it is, this Fifth is not exactly high-octane and competition is fierce. Like his father, Paavo plainly loves studio recording but, where Neeme in his prime was intent on transmitting the inner life of a score, never mind a few rough edges, Paavo sometimes seems preoccupied with the incidentals. I’m not sure any rival offers as much in the way of buffed, jewel-like detail, only partly a reflection of the particular character of Music Hall, Cincinnati, and the accommodating sound balances favoured by Telarc’s sound engineers. The luminous glow cannot be gainsaid, yet the overall effect is worryingly small-scale, even unidiomatic. Gone are the awkward transitions, edgy sonorities and specifically Russian qualities embraced by Vladimir Jurowski (Pentatone, 1/08). Järvi’s opening gestures are as mellifluous as his finale is swift and spry. So best not look for the gravitas of Herbert von Karajan (DG, 12/00) – just sit back and enjoy.

Lieutenant Kijé at least responds perfectly to this essentially colouristic treatment. Remember the evocative Stravinsky Petrushka and Firebird Suite on the team’s first, and arguably best, disc (Telarc, 5/03)? This is every bit as good, with natural warmth, extended bass response and an iridescent sonic palette to perk up the most jaded audiophile. The booklet not only contains unusually full technical data but also lists the players – deservedly so. It’s the Chicago Symphony’s assistant principal trumpet, Mark Ridenour, who contributes the eloquent offstage fanfares which frame the tale.