This label provides demonstration recording quality: indeed, heard on four speakers, this is the most sonically arresting Rite of Spring in the catalogue. Played on normal equipment it’s still riveting. Jonathan Nott has certainly put his mark on the Bamberg Orchestra: the quality and personality of their playing is transformed. The richly coloured woodwind is full of the kind of individuality one expects from the finest players – the opening of the Rite is magically evocative, matched by a string ensemble of comparable calibre.

This is a highly individual Rite, well played, translucently clear in detail and full of character. It is not as violent as Muti’s Philadelphia version (EMI, 11/92R); not as consciously expressive in its intensity as Bernstein’s (DG, 2/84); certainly not as civilised as Karajan’s (DG, 12/00). But it has an unexaggerated, elemental forward pulse that is very convincing. The beginning of Part 2 is poignantly unearthly in feeling: the “Mystic Circles of the Young Girls” has a deeply touching melancholy. Yet with thundering drums, the “Glorification of the Chosen One” makes a truly malignant impact and the closing “Sacrificial Dance” moves to a powerful climax without going over the top. I am reminded most of all of Stokowski’s 1929/30 version which so closely mirrors his superb account in Disney’s unforgettable Fantasia.

The performance of the engaging Symphony in Three Movements makes a perfect foil, a beautifully judged performance that relishes the syncopations and lighter scoring. There is real charm and warmth in the central Andante with its glowing textures, and a spirited, upbeat finale. Again, superb playing and recording.