Tchaikovsky [Symphony] Symphonies—No. 1 in G minor, Op. 13, "Winter daydreams"; No. 2 in C minor, Op. 17 "Little Russian". Bournemouth Symphony Orchestra / Andrew Litton.

Virgin Classics (Full price) (Cassette) VC7 91119-4; (CD) VC7 91119-2 (80 minutes: DDD).

In their Tchaikovsky series for Virgin, Litton and the Bounemouth orchestra here come up with a clear winner. Not only is this coupling of the first two symphonies both generous (a few seconds under 80 minutes) and unique, the performances in every way rival even the outstanding versions I have listed. More strikingly than in the earlier issues in the series, Litton here conveys the tensions and sense of spontaneity of live perform- ances, urgently convincing and full of fresh imagination. Add to that warm and full recording, less distanced than many on this label, and the resulting disc earns the strongest recommendation.

The very opening of the First Symphony seems specifically to reflect the title, Winter daydreams, in a manner relaxed and warm rather than taut. If from that there is any suspicion this is to be just a run-through, that idea completely evaporates as tension builds to the first fortissimo, leading into an exhilarating account of the main first movement Allegro. Litton in this movement and elsewhere reveals himself as a more volatile Tchaikovskian than Jansons (Chandos) or Karajan (DG), often lighter than either in these early works, often more affectionate than Jansons in phrasing second subjects and less consciously smooth than Karajan. He is also rather freer than either with accelerandos and slowings, which yet never sound self-conscious or too free.

The hushed pianissimos of the Bournemouth strings in the slow movement of the First Symphony outshine those of his rivals, even if the Berliners are uniquely sensuous in their tone, while the great reprise on horns in unison is richer than with Jansons and more varied than with Karajan. The fantasy of the Scherzo at a faster speed than Jansons makes it even more clearly into fairy music, with the waltz-time of the Trio swinging infectiously and leading to a passionate climax. In the finale Litton is again more impulsive than either Jansons or Karajan, and at the end is no less exciting. The Bournemouth strings come very near to matching the phenomenal string articulation of the Berliners in fugato sections, and generally in technical brilliance and finesse the Bournemouth players are a match for any metropolitan rival.

In the Second Symphony Litton again wins points even over Jansons and Karajan. Many will prefer the more conventional tempo for the second movement Andantino marziale, beautifully sprung, less brisk and more relaxed than with Jansons, lighter and less smooth than with Karajan. Litton also gains in the extra rhythmic elbow-room he allows to the syncopated second subject, whether in main statements or in development, giving it an infectious touch of jazziness. In couplings, too, Litton has an obvious edge over any rivals, particularly so in relation to Jansons, whose version of No. 1 has no coupling, while No. 2 has only the Capriccio italien.

EG