Heras-Casado’s interpretation of The Rite is more sensual and clearly-etched than shatteringly powerful, despite the force of the bass in a recording which judiciously spotlights woodwind, coming through even the thicker ensembles.

The still-centred moments of this performance [of The Rite] are the moments in which you stop and take note...the Eötvös is well worth basking in.

Elegance and transparency aren’t adjectives you’d necessarily associate with this score, but Heras-Casado supplies both in spades, and the pay-offs are fascinating, revealing a wealth of inner detail that often gets eclipsed elsewhere. If you’re used to the red-in-tooth-and-claw energy and bottom-heavy sonorities of recordings by the likes of Igor Markevich, Leonard Bernstein and the composer himself, you might need a while to adjust to Heras-Casado’s lighter touch - but I’ll wager he won’t leave you feeling short-changed by the end.