Catacombs seems more sinister, almost Dostoyevskian, and The Old Castle emits a chill reminiscent of Sibelius. Miguel Harth-Bedoya claims to have retained all the ‘wrong’ notes, which has imbued the score with a raw earthiness and keeps the momentum in The Great Gate of Kiev, always a potential stumbling block. It won’t have you on the edge of your sofa, but I’m glad, nonetheless, they recorded it.

Of greater interest was Harth-Bedoya’s own suite from Prokofiev’s ballet Cinderella where he orders the music chronologically in contrast to the composer’s own suites. I’ve always loved this sophisticated, late-night Prokofiev score, which seems to occupy the same sound world as the Seventh Symphony. The most memorable moment for me is the ticking clock countdown to midnight, which is quite terrifying here with a real sense of urgency (so unlike Haydn’s jolly little cuckoo clock). Overall, fine playing and conducting, and OK sound.