The Brahms symphonies can readily be
described as ‘central repertoire’, meaning
that all orchestras play them season
on season. There are recordings in abundance.
It may seem surprising
to find a chamber orchestra entering
what is symphony orchestra territory,
but by ensuring that the strings are
up to strength, this is a distinct possibility.
The clarity of ensemble and excellence
of the players are things for which
the best chamber orchestras, including
the Scottish Chamber Orchestra, are
well known.
So it proves in these
recordings made in 1997 and released
as a three CD set now made available
separately. Telarc and Mackerras set
down all four symphonies plus a few
additional items. The coupling of the
Symphony No. 2 and the St Anthony Variations
undoubtedly makes for an attractive
programme. The Variations find orchestra
and conductor at their freshest and
most imaginative. Mackerras is an experienced
hand, and his choices of tempi across
the sequence of variations are unerring.
There is real urgency, and the seeming
opposites of variety and unity are reconciled.
As elsewhere in this series of recordings
the violin sound is on the thin side,
but the added clarity does serve as
compensation.
The Symphony No. 2
is a gloriously lyrical work on the
large-scale, and Mackerras has a strong
view of how its scale and scope should
be realized. There is not a dull moment,
and there is much distinguished playing
besides. The richness of the bass, as
at the opening, is a plus-point, but
again the violin sound lacks body and
bloom. There is a compensatory litheness
but anyone who has heard this music
played by a great symphony orchestra
will notice the difference in this department.
Whether it is recording or playing is
hard to fathom. Probably it is the former,
since the bass department is so much
more satisfying.
The performance generates
considerable tension and the musical
line is always taut. It is moments like
the glorious unfolding of the first
subject of the opening movement that
leave the listener a shade frustrated,
but the compelling symphonic argument
is urgently drawn. Likewise the richly
romantic second movement has suitable
richness of texture and darkness of
tone, but the upper range is less fulfilling.
In the light of all
this it comes as no surprise that the
performance of the third movement intermezzo
is less problematic. Indeed, the judgement
of relative features is near-ideal.
In the finale the sweep of symphonic
momentum is irresistible, and the glorious
D major sound of the final tutti is
itself justification of Brahms’ symphonic
journey.
Terry Barfoot
Scottish Chamber Orchestra/Charles Mackerras 
