Much of the Adagio from Mahler’s Tenth is carried by the strings; and the strings of Kremerata Baltica are fabulous players. Whether those are good enough reasons ever to want to hear the piece in this ersatz version for strings alone does not necessarily follow, however. At its best the music takes on a certain intimacy, not unlike passages of Strauss’s Metamorphosen. All too often, though – for me at least – the scaling-down reduces Mahler’s philosophical reflection to mere sentimental hand-wringing. Kremer has apparently tweaked Hans Stadlmaier’s transcription here and there. But whoever had the idea of the octave doubling for the screaming high D at 9'25" should be taken out and shot, since it ruins one of the greatest climaxes in all music.

The Shostakovich is recorded live and with Kremer himself directing from the leader’s desk. No surprise, then, that the “Malagueña” second movement starts with a nasty bump. In fact the ensemble is remarkably good, and the rhythmical intricacies and counterpoints of “Lorelei” are clearer and more secure than in many a conventionally conducted performance. Sadly, neither soloist is in best voice. Though each sings expressively, each also has off-colour phrases that should have been patched. And given the general effort required to keep the ensemble together there is little or no benefit from live performance in terms of interpretative daring.

Despite superb string-playing and first-rate recording, this is one strictly for Kremer fans only, I fear.