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| Decca (Full price) (LP) 421 441-1DH; (Cassette) 421 441-4DH; (CD) 421 441-2DH (56 minutes: DDD). |
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| Philh, Muti LP (7/82) ASD4169 (CD) (2/87) CDC7 47412-2 |
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| Oslo PO, Jansons LP (5/88) ABRD1245 (CD) (5/88) CHAN8535 |
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Manfred with its unconventional, programme-based structure gains even more than most of Tchaikovsky's major works from a spectacular recording, and that it certainly receives in this new version from Chailly and the Concertgebouw. The sound is even fuller and wider-ranging than on the outstanding recent Chandos version from Mariss Jansons, though there are points of balance and definition which even on sound-quality favour the Chandos. What Decca in the new Chailly have obviously aimed at is an impressive demonstration disc, and they succeed superbly.
On interpretation my broad preference remains with Jansons, whose feeling for Tchaikovskian rubato is both more persuasive and more spontaneous-sounding. The slow opening section provides an obvious instance, for Jansons's more flowing speed leads the ear on, while Chailly sounds a little heavy rhythmically. It is similar in the lovely lyrical central section of the scherzo and in the main theme of the third movement Andante though in both of those instances Chailly's speeds are marginally faster than those of Jansons. One arguable point of balance is the forwardness of the oboe solo in that third movement though conversely horns are rather more recessive in the Decca recording than on Chandos, and the brass tend to cut through less cleanly in tuttis.
Such comparisons must not mask the positive strength of the new Chailly, interpretatively as in recorded sound. His view of both the outer movements is broader and more spacious than Jansons's. I find a tauter, more urgent manner like Jansons's even more convincing in large-scale structures that are always hard to hold together, but Chailly's breadth goes with fine control of tension, and he caps each of those movements with overwhelmingly powerful climaxes, superbly caught by the recording. The sonorous reproduction of timpani and double-bass detracts a little from the overall clarity, but the result is supremely exciting. The entry of the organ in the finale is as thrilling as in the Chandos with more of a church atmosphere. Only in the Largo coda does Chailly at a very slow speed seem to dissipate some of the tension, where Jansons at a steadier tempo shapes the long diminuendo to keep the argument taut to the very last pianissimo chords.
Though my own preference remains with the Chandos, I must emphasize the closeness of the margin. This is in many ways the most impressive record that Chailly has yet made with the great orchestra of which he has become artistic director. Decca engineers are plainly relishing more than ever the challenge of working in this great Amsterdam hall.
EG