This is a very satisfying account of ‘Die Zauberflöte‘, principally on account of Böhm’s handling of the score. He inspires the Berlin Philharmonic to convey a Masonic ‘gravitas’ which is in keeping with the philosophy of Enlightenment Reason which lurks behind the pantomime elements of this unusual work. You will certainly find deliberate speeds here, which may not be to your taste if you like fleet, revisionist, original-instrument Mozart. Vocally it’s the women in this recording that have had a bad press: but Evelyn Lear has some lovely tones in her voice even if there are occasions when Pamina’s music presents her with challenges.

Following the success of Die Schöpfung (The Creation), which had swiftly gained popularity throughout Europe, Haydn’s librettist Baron Gottfried van Swieten suggested another project, based on James Thomson’s pastoral epic, The Seasons. One of Haydn’s last major works, Die Jahreszeiten depicts the yearly cycle of life in the countryside through the eyes of three peasants, providing us with music of thrilling vitality and creativity.

Richard Strauss' choral works are seldom performed, not least because of the enormous demands they place on the singers. “What he called for in terms of tessitura and breath technique in his Deutsche Motette went far beyond the normal vocal possibilities”, wrote Strauss' biographer Ernst Krause. But the pieces are also enchantingly beautiful, a reason in itself to devote an entire concert programme to this composer and then to record it.

Jochum's version of Carmina Burata leaves the rest behind. Jochum's baritone Dietrich Fischer-Dieskau in particular is the best baritone soloist for this work. The soprano, Gundula Janowitz, finds a quiet dignity for her contribution and this is finely done. The chorus are best when the music blazes, and the closing scene is moulded by Jochum with a wonderful control, almost Klemperian in its restrained power. The sound might be mid 1960's DG analogue but the performance leaves the rest way behind. Jochum's version was recorded in the presence of Carl Orff and is authorised by Carl Orff.