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His speeds are all generally near to what they should be, but it is the transparency in these performances that is so attractive. This clarity is immediately discernable in the opening of the 1st Symphony

Listen -- Adagio molto -- Allegro con brio (Symphony No 1 in C, Op 21)
(CD 1 track 1, 0:01-1:13) © 2002-2007 hrmk

and the elegance of the orchestra's warm yet controlled string tone.

Listen -- Finale. Allegro molto (Symphony No 3 in E flat, Op 55)
(CD 1 track 8, 0:00-0:55) © 2002-2007 hrmk

Perhaps the opening of the 4th Symphony is rather too ponderous and expansive

Listen -- Adagio -- Allegro vivace (Symphony No 4 in B flat, Op 60)
(CD 2 track 5, 0:57-2:34) © 2002-2007 hrmk

and yet, in contrast, the opening of the 5th has exciting drive and an unexpected lightness

Listen -- Allegro con brio (Symphony No 5 in C minor, Op 67)
(CD 3 track 1, 0:00-1:20) © 2002-2007 hrmk

with the more refined strength of natural trombones in the finale, and the merrymaking in the Pastorale, with the natural horn and other appealing woodwind playing, conveys an enthusiasm that is infectious.

Listen -- Lustiges Zusammensein der Landleute (Allegro)
(Symphony No 6 in F, Op 68)
(CD 3 track 7, 0:49-2:12) © 2002-2007 hrmk

The trio in the third movement of the 8th Symphony -- always sounding to me quite Brahmsian, that is, ahead of its time! -- again highlights some beautiful solo wind playing and the clarity of that gymnastic cello part.

Listen -- Tempo di Menuetto (Symphony No 8 in F, Op 93)
(CD 4 track 7, 2:34-3:33) © 2002-2007 hrmk

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Copyright © 24 June 2008 Patric Standford, Wakefield UK

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