Daniel Barenboim’s 1970s London LPs of Elgar conveyed a profound affinity with that composer confirmed by his recent recordings in Berlin – warm hearted accounts by a full-throated Germanic orchestra, a firm grip exposing a hidden Brahmsian logic to Elgar’s rambling symphonic structures. Returning to the Brahms symphonies a quarter century after his affectionate but flawed Chicago accounts, that particular Malvernian sensibility seems to have filtered through so that these latest performances, to invert the simile, are the most Elgarian I’ve heard.