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When it finally appeared, Brahms first symphony proved an overwhelming success, acquiring the nickname ‘Beethoven’s Tenth’. A second followed within a year although he waited six more years before completing his penultimate symphony. Brahms was both a traditionalist and an innovator whose aim was to express the purity of his great German predecessors in a more Romantic idiom.

Brahms' view of Wagner is less clear. Although he once described himself as ‘the best of Wagnerians’ he probably found the creator of the ‘Ring’ an enigma too far. So, the challenge for any modern interpreter of the third symphony is to elucidate Brahms unique symphonic vision in an age dominated by Wagner. If Beethoven is the bridge between Classicism and Romanticism, where does that leave Brahms? Bernard Haitink has spent a musical lifetime with Brahms, Beethoven and Wagner and this recording with the LSO probably comes closer to resolving the enigma than any contemporary performance.

The Serenade No 2 pre-dates Brahms symphonies. It is scored for ten wind instruments (with the addition of piccolo in the finale) and a string section of violas, cellos and basses. In the absence of violins, most of the focus is on the wind and the LSO’s principals revel in Brahms inspired melodies.