So far, there hasn't been a set of Sibelius symphonies that one could happily recommend over all. Maazel (Decca), Davis (Philips) and Karajan's DG collection (Symphonies Nos. 4-7) each include some fine performances, but none of them quite manages to convince as a cycle. The Ashkenazy set does just that: not only are the performances remarkably consistent in quality; on top of that Ashkenazy conveys a profound awareness of the processes that underlie Sibelius's development as a symphonist. As the composer leaves behind him the frankly rhetorical gestures of the finale of Symphony No. 1 and the Andante of No. 2 and concentrates more on what he called "the profound logic" of "inner connection", so Ashkenazy's manner becomes less indulgent, and there are signs of an increasing concern for the pacing of musical events. In the slow movement of No. 4 for instance, Ashkenazy's sense of timing is most impressive: pauses between gestures are judged to a nicety, so that the silences are long enough to be pregnant, but not so long as to allow dissipation of energy. In general Ashkenazy's initial choice and subsequent manipulation of tempo are almost unerringly perceptive. Only once, in the finale of No. 6, does his change of pulse sound forced (I'm referring to the difficult gradual acceleration just before letter L). Elsewhere there's an irresistible sense of current, sometimes immensely slow, sometimes precipitously fast.