David Zinman’s Mahler series has tended to divide the critics, some seeking a greater sense of neurasthenia behind the notes and a weightier orchestral sonority, others persuaded by the sheer musicality of what is on offer. Whatever your point of view, the careful balance of detail, atmosphere and “mellowness” obtained by the recording team this time round is likely to impress. So too should the packaging which, quite apart from acknowledging the artistry of individual musicians with a roll call of Tonhalle Orchestra members, showcases the artwork of Ernst Ludwig Kirchner.

Few would deny that in matters of interpretation (and with several readings apiece), Abbado and Bernstein continue to lead the field in their different ways. That said, RCA’s more truthful, bass-light sonics allow many passages to emerge here as if fresh-minted. The first movement’s restrained central episode is one such example, although the steady-as-she goes denouement of the same movement reminds us that we’re not in New York, Chicago, Vienna – or Lucerne. Much the same is true of the brass in the finale where the music-making is in any case a little sober and sensible for my taste. The trick here is to indulge the episodes with local colour while making their progress seem somehow inevitable; Zinman focuses on the second of these imperatives. It’s the balancing Nachtmusik panels which work best, the fourth movement perhaps a little short on charm for all that its quixotic instrumentation is rendered with exceptional transparency. The central Scherzo is a good test: if you hear the playing as short on sheer diablerie this probably isn’t the recording – or the cycle – for you.