I didn’t come to this set with high expectations but was
                pleasantly surprised because the playing is quite lovely. The
                principal joy is the Third Orchestral Suite, one of Tchaikovsky’s
                most under-rated works. Marriner treats it with all the grandeur
                and scale that this music deserves, building to a magnificent
                account of the extended finale, surely Tchaikovsky’s most
                thoroughly worked set of variations. The various solo sections
                are taken very effectively by the Stuttgart players and the final
                explosion of vigour is most infectious. This set is worth acquiring
                for this alone, and the super-budget price most definitely helps. 
                
                The other suites are just as distinguished. The contrapuntal
                seriousness of No. 1 can sometimes feel a little wearing, but
                it is polished and refined here, with the correct balance of
                light-heartedness in the sparky final marches. No. 2 is as playful
                as the movement headings suggest, while the horns really shine
                in the scherzo. 
Mozartiana is affectionate and warm in
                the first three movements, and well judged in the variations
                of the finale. The whole is captured in the warmest sound where
                every detail is in place and there is a gorgeous bloom surrounding
                the instruments. All told, this is lovely music, beautifully
                played and shaped by a conductor who holds a real affection for
                it. If you want a super-budget edition of the Suites this is
                as good a one as you’ll find, and altogether more satisfying
                than Stefan Sanderling’s Irish recording on Naxos. 
                
                The tone poems aren’t quite up to this level, mainly due
                to misjudged pacing. The opening 
lugubre of 
Francesca
                da Rimini is fantastically intense, but then the storm music
                is too slow to maintain tension while the love music is that
                little touch too fast to flourish. Similarly, the fight sequences
                in 
Romeo and Juliet are too slow and Friar Laurence’s
                music plods, though the coda has a lovely valedictory glow. 
Capriccio
                Italien is perfectly respectable, but really these three
                works should only be seen as a bonus filler to the suites and
                I’d clearly favour this release for anyone who wants to
                acquire those.
                
                
Simon Thompson