Let there be no doubt, Franz Schmidt’s Fourth (1933) is one of the finest of 20th-century symphonies. Its alternately winsome and tragic atmosphere, where even the major instrumental solos bear autobiographical resonances, make it a very special work emotionally. Unapologetically lyrical and melodic from first bar to last, it is also very closely constructed, the themes deriving from the long opening trumpet solo (which instrument Schmidt played as a student). In design its four sections run continuously, built from three movements, the slow movement featuring prominent solos for Schmidt’s own instrument, the cello. The recapitulation of the first movement is delayed and extended to form the finale. Even Liszt and Nielsen did not think of that!

Sinaisky’s previous recordings in this series have shown him to be a most sympathetic Schmidt interpreter, albeit a touch cautious in choice of tempi. So generally it proves here – compare this account with Järvi’s, which is four minutes swifter – and if I would have preferred a touch more impulsion in the Allegro molto moderato, Sinaisky undeniably makes his pacing work. I would still select Welser-Möst’s beautifully played account with Schmidt’s own Vienna Philharmonic as first choice in both the symphony and the Hussar’s Song Variations (1930) but Sinaisky is a fine alternative and preferable to Luisi, who offers no coupling (Järvi has Strauss’s symphonic fragment from Josephslegende). Naxos’s sound is most serviceable without being spectacular and not as rich as the Chandos and EMI rivals. At super-budget price, though, this is unreservedly recommended.