this latest account impressively combines accuracy with atmosphere in sound of clarity and lustre. Informatively annotated by Paul Griffiths, it can be warmly recommended to those new to and familiar with this masterpiece – a ringing endorsement of Fischer as his Utah tenure reaches its conclusion.

Jason Hardink, the Utah Symphony’s principal keyboard player, projects Messiaen’s piano writing as vividly and idiomatically as anyone could want, while the horn soloist is no less than Stefan Dohr, the principal of the Berlin Philharmonic. Fischer ensures that their superb contributions fit perfectly into what he projects as a vast musical canvas, and that the orchestral playing is fabulously precise too.