It’s funny to think that at the very moment when King Charles was going through his Coronation, pledging service and promising mercy in the midst of a tradition and a pageant older than the Norman Conquest, and with the constant susurration of a constitutional monarchy grounded in the vision of Christianity as the myth that underlay our democratic beliefs, Simon Rattle was performing Mahler’s Seventh, that most topsy-turvy and confusing of the great composer’s works, conducting the London Symphony Orchestra like the great master he is.