Some of his tempos may be slower than ideal and there may be occasional uncertainties of ensemble, but these are rich, glowing, utterly convincing performances. No. 2 is warmer, its first movement weightier, than Colin Davis’s classic account on Decca. As for No. 4, which many commentators found rather underwhelming at its first appearance under Solti, this is the performance the one performance in which its fresco-like single movement (wind-machine, Gibbons quotation, recorded breathing and all) makes something like complete sense.