Domingo Hindoyan’s interpretation of the Fourth Symphony is well paced, admirably attentive to dynamics and avoids any interpretative eccentricities. Solo horn and woodwind passages are beautifully realised by the Liverpool players, and the Andante in particular is rich in atmosphere. The assured handling of the finale, including the carefully graduated ascent to the final peroration, suggests a conductor fully at home in the composer’s idiom.

A factor preventing this release being a stronger contender among the more than 100 recordings of the symphony now available, however, is that the engineering – in a recording pieced together from rehearsals, a concert and a later patch session – has a slightly veiled quality that detracts from the impact of the performance. I compared a number of passages with Karl’s Böhm’s version for Decca (10/74) and was struck by the greater transparency and sparkle of the sound, despite the recording dating from 50 years earlier. In a competitive field, my pick for a modern version of the Fourth remains Christian Thielemann’s recording with the Staatskapelle Dresden, a spacious but commanding reading with playing of extraordinary eloquence and a first-class recording to match.