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| Virgin Classics (Mid price) (CD) VC7 59230-2 (57 minutes: DDD), From HMV SLS834 (1/73). |
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| Oslo PO, Jansons (5/88) CHAN8535 |
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Litton and the Bournemouth orchestra are particularly successful in dealing with the poetic side of this work, not least the tender theme representing the hero's beloved, Astarte. This is treated with delicacy and tenderness, as are other gentle moments. The Astarte theme on its first appearance (track 1, 9'12") is not just more hushed and delicate than with either Jansons (Chandos) or Chailly (Decca, 9/88—nla), but is moulded more affectionately, with the pauses between phrases slightly exaggerated to add to the dramatic intensity. Consistently Litton controls tension with a sureness that adds to the piece's dramatic power, not least in building climaxes, often pressing ahead. If Jansons in his different way prefers a steadier pulse, seeking to bring out the work's symphonic qualities, Litton's emphasis is on the programmatic basis. Even so, with tension subtly varied as in a live performance, there is no lack of cohesion. Even more than with Chailly or Jansons Litton offers a warmly affectionate treatment of the music which at the same time does not fall into sentimentality or vulgarity.
Where, not surprisingly, the Bournemouth orchestra fails to match either the Concertgebouw or the Oslo Philharmonic is in the richness of string tone. However, that is partly a question of recording balance, and there is an equivalent gain in the extra clarity of texture that the Virgin sound offers. If I started by registering a lack of weight in the Lento introduction to the first movement, the purposeful thrust of the performance and its spontaneous expressiveness quickly countered that, with rubato used more freely but with fine control. In their clean articulation the Bournemouth players in all sections readily match their rivals and Litton points the chattering semiquavers of the 'Alpine Fairy' scherzo with more wit and fantasy than even Chailly, and his broad speed for the third movement Andante allows the oboist to play the opening oboe solo with a tender expressiveness to make the Concertgebouw account seem prosaic. The organ entry at the end of the finale, too, is even more dramatic than with either Jansons or Chailly. It is good to find Litton—whose appointment as Music Director of the Dallas Symphony Orchestra has just been announced—rounding off his Tchaikovsky series for Virgin so successfully.
EG