is rather a disappointment. Itís not necessarily that Fedoseyevís
bracing and brisk reading with a finale cut takes only just over
52 minutes so much as the recording causes sometimes insurmountable
problems. No location is specified but the recording engineers
have not been able to subdue a ruinous glassiness on the violinsí
tone and there is a muddiness throughout that obliterates a considerable
amount of detail. This is particularly true in the slow movement
where wind counterpoint is barely audible.
is here committed to a performance of symphonic stature and cohesion.
He favours fluidity over lingering, the presumed long line to
incidental felicities. So his first movement can be rather abrupt
and occasionally curtly phrased with some want of affection. There
are also some moments of bumpy phrasing; things donít quite flow
and again heís hardly helped by a sound quality that veils string
entries and submerges things generally. In the slow movement he
is clear-eyed, caesurae between paragraphal points brief, his
goal one of symphonic tension exercised through tempo relation.
I admire the ambition whilst finding the results unconvincing
and unmoving. In the finale Iím afraid untamed trumpets tend to
overbalance the texture and the strings are never really "there"
in the balance; and for all Fedoseyevs ambitions at a real
symphonic statement the end result can be a bit slack rhythmically.
with the symphony are the early and charming Scherzo and a pleasantly
aloof Vocalise (but then who wants a pleasantly aloof Vocalise?).