Frank Peter Zimmermann’s recent Sony anthology of the Symanowski and Britten concertos (A/09) was a classy, richly stimulating affair and his new Ondine recording of the Sibelius affords comparable pleasure. Don’t be hoodwinked by Zimmermann’s uncharacteristically mannered opening entry; his partnership with John Storgårds and the Helsinki PO soon blossoms into something special – a reading of simmering intensity, steadfast concentration and dashing technical security.

With his gorgeously ripe tone, easy swagger and intoxicating range of colour, Zimmermann is every inch the master. Storgårds, too, conducts with alert understanding: those punchy tuttis in the first movement where Sibelius lets the orchestra off the leash are handled with watchful authority (the brass contribution is especially distinguished). In the central Adagio di molto, these performers allow themselves plenty of time and expressive leeway – and how tenderly Zimmermann caresses those achingly intimate sighs from four bars before fig 1 (2'40") and again, towards the close, from four after fig 4 (6'37"). The finale, by contrast, is taken at quite a lick, but happily there’s no loss in either rhythmic acuity or sure-footed composure. From a host of felicities I can’t resist mentioning that delicious episode from 14 after fig 8 (4'36"), where the solo violin’s harmonics whistle out cheekily over the nimbly dancing orchestra.

As for the couplings, Storgårds secures as compelling a rendering of The Bard as I can ever recall, his strict observance of note values at fig G (5'13") injecting the necessary spark. He also has the measure of The Wood Nymph, a moody, somewhat unwieldy symphonic ballad from 1895, programmed by the composer four years later alongside the Helsinki world premiere of his First Symphony, and whose glowering apotheosis boasts a cello-led idea that Sibelius fruitfully reworked for Lemminkäinen and the Maidens of the Island (the first of the Four Legends, Op 22).

Just occasionally, I felt the woodwind were balanced a little too closely for comfort; otherwise, the sound is pretty much state-of-the-art. Make no mistake: this is a thoroughly recommendable release.