And now for something completely different? By general agreement, Rattle’s 2003 cycle of Beethoven symphonies with the Vienna Philharmonic was inconsistent and hastily packaged, the conscious Haydnesque jollities of the First and Second symphonies – clearly Rattle had been listening to John Eliot Gardiner and Frans Brüggen – rubbing awkwardly against visions of the Third, Fifth and Ninth swept along by broad sweeps of Romanticism, like Rattle had also swallowed huge chunks of Wilhelm Furtwängler.

Rattle is on record as saying that Furtwängler’s 1942 recording of the Choral Symphony epitomises everything genuinely great about the Berlin Philharmonic, its string sound in particular. And here’s the great paradox of this fresh Beethoven cycle, recorded with the Berlin Philharmonic in October 2015 – a decade on from his first attempt, Rattle has managed to make the yin and yang of HIP and a Romantic underbelly coexist and these Berlin Philharmonic readings sound less obviously indebted to its own heritage. “You can try to make [Beethoven] agree with himself when often he’s fighting with himself,” Rattle says in the bonus documentary included as part of the package. “But I have...