I reviewed last year the set that contained the First and Third Symphonies but the earlier volume, containing the Second and Fourth is new to me and I’ve been keen to hear Dohnányi in the other two symphonies. Now Signum has reissued the complete cycle, conveniently packaged together though I think I’m right in saying that the two separate volumes remain available.

The First Symphony begins with a good, broad account of the introduction but one in which the conductor maintains good momentum and tension. The main allegro is purposeful and there’s a good level of energy. Throughout the movement one has a sense of direction and firm control from the podium. The slow movement is nicely done, with pleasing solos from the leader and from the principal horn and oboe players. The long introduction to the finale is spacious in Dohnányi’s hands and he generates a good atmosphere. The Big Tune unfolds smoothly (from 4:34) and in the main allegro there’s a satisfying degree of impetus and drive. Towards the end of the movement Dohnányi slows a bit more rhetorically for the chorale than I would have expected in what is overall a pretty direct interpretation of the music but he doesn’t apply the brakes anything like as excessively as I’ve heard many a conductor do over the years.

The first movement of the Second Symphony is taken at a nice, flowing pace, which is very much to my taste. Dohnányi, unlike some conductors, takes the exposition repeat – hurray! – which means that not only do we get a second chance to hear all that wonderful music as it is reprised but also that we hear (from 5:10) the first time bars that Brahms took the trouble to write and which are well worth attention in their own right. That decision alone disposes me in favour of this performance and in fact the reading of the whole movement is extremely satisfying. The slow movement is the only example of an Adagio movement in Brahms’s symphonies. Dohnányi plays it spaciously. The music is very well phrased and the climax is powerfully projected. The finale is exhilarating, without being at all driven. Dohnányi builds the movement to a rousing conclusion.

In the Third Symphony, as in the preceding symphonies, Dohnányi obtains spirited and muscular-sounding playing from the Philharmonia. His reading of the first movement is dynamic in nature though he is willing to relax for the more lyrical passages. Several times I admired the delicacy of the orchestra (for example between 1:25 and 2:04) and I also appreciated the way in which Dohnányi gives full value to the spacious passage between 7:00 and 8:12 without sacrificing momentum. The inner movements are both well done – the Andante is persuasively shaped. The opening of the finale has the right degree of vigour – Dohnányi ensures that the performance has backbone. Later, from about 6:40, the extended coda is nicely shaped. As the end of the symphony approaches Brahms’s valedictory harmonic progressions register well yet there is no sentimental autumnal dawdling.

In the first movement of the Fourth Symphony Dohnányi again shows himself to be a shrewd judge of tempo. He leads a trenchant and strongly projected account of the movement and the second movement is delivered in a similar fashion. The Scherzo is forthright and robust. Unsurprisingly, the great passacaglia finale is given a reading of no little power and strength. The rigour of Brahms’s music is really given its due in a taut and very convincing reading.

There is applause at the end of each symphony – vociferous in the case of the First and Second symphonies – but otherwise I couldn’t detect much audience noise.

In my original review of the First and Third symphonies I described Dohnányi’s interpretations as “central”, by which I meant a traditional, reliable view of Brahms. That view applies equally well to the other two symphonies. Throughout the set the Philharmonia plays excellently – the rapport with the conductor is evident – and the performances are reproduced in good sound. The catalogue is full of Brahms symphony cycles but these Dohnányi readings are consistent and very rewarding and, as such, are competitive. This set is well worth considering, especially since the price is advantageous.

The audience-filled Royal Festival Hall is not an easy venue for recording and there have been past failures but Signum seems to have conquered the problems, presenting sound of considerable immediacy. The hall is not particularly resonant and often Bruckner is recorded in more-spacious surroundings but in the context of Christoph von Dohnányi's strongly detailed account the amount of reverberation presented seems just right. In terms of balance the conductor pays much attention to stressing contrasting colours – woodwind detail is captured exceptionally well. Given the fairly immediate sound, there is always concern in Bruckner as to whether the brass might overpower. Here it does so less than on many another recording and the only cause for thought is that the violins occasionally make less impact than they should.

On this occasion we are free of the controversial 'Bruckner edition' problem. Dohnányi uses the excellent 1936 Robert Haas publication of Bruckner's 1878/1880 version. This is widely accepted as the composer's true intention as is Leopold Nowak's almost identical presentation. (I shall not bother the reader with the tiny alterations which Haas included in a later, equally acceptable publication.)

The nature of Dohnányi's interpretation is clear from the outset. In some readings the magical opening horn-call might have been emerging from a distant forest; here, over extremely hushed strings, we have a bold announcement of the pervasive theme beautifully played. Strength and directness continue throughout although Dohnányi is fairly flexible within his moderate pacing – faster than Böhm or Tintner, similar to Eugen Jochum or Günter Wand but slower than Eduard van Beinum (in a June 1952 Amsterdam performance that has latterly become available).

Directness does not exclude the evocation of mystery and there is a magical passage just after eleven minutes when the orchestra becomes hushed to re-introduce the opening horn call in gentler mode with softly answering flute. The timpani subtly echo the horn’s phrases. The Andante quasi allegretto is not as march-like as is sometimes the case – it is possible effectively to make expressive hesitations at ends of phrases and Dohnányi does so without hindering the progress of the music. The dance element of the scherzo is admirably evident. A measured tempo is adopted although perhaps Dohnányi's relaxation at the thoughtful middle part holds back the impulse somewhat. The woodwind playing in the trio is superlative.

Dohnányi makes the finale something of a tour de force even though this is not the strongest of Bruckner's constructions, it is however immensely superior to the original 1878 movement of which this is the 1880 revision. I like the way in which the timpani are used with immense power to underline the significant moments of the big climaxes and the horns always match the weight of the heavier brass. Another of Dohnányi's magical moments occurs just before twelve-minutes-in when after a noble climax a soft Wagner-like passage leads via a sombre climbing from the depths to a challengingly discordant woodwind sequence. Bruckner writes many a beautiful and serene melody and in this he can be comforting but he is certainly not a comfortable composer because the listener can never be sure when the next unexpected clash of harmony might arrive. The performance ends grandly with a broad coda and a ringing final chord. A pity about the applause: true it respects the music by giving a decent pause after its close but it is entirely unnecessary and a distraction on a recording.

Dohnányi is a notable conductor of Bruckner and he seems to have a special sympathy for the ‘Romantic’ Symphony. There are several recordings available including off-air performances on unauthorised CDs. Officially, however, Dohnányi has recorded the work twice, both with the Cleveland Orchestra, first for Decca and then the Clevelanders issued a concert performance from May 2000. Dohnányi has also recorded most of Bruckner’s other symphonies, beginning with No.3, but none are recent releases. Can we perhaps hope for more Bruckner with the Philharmonia Orchestra? After all Dohnányi is now its Honorary Conductor for Life.