Poised and patrician interpretations that concentrate on lyricism, warmth, and spacious breadth rather than incipient tension. Walter’s 1960 B flat recording hasn’t Beecham’s geniality or...

Poised and patrician interpretations that concentrate on lyricism, warmth, and spacious breadth rather than incipient tension.

Walter’s 1960 B flat recording hasn’t Beecham’s geniality or élan but it does have an unhurried and patrician affection that is hard to gainsay. The generosity of the phrasing never descends to Casals’s rather heavy-handed loving kindness; the sectional balance is fine, the direction remains crisply understated but affectionate. The wind and horn principals distinguish themselves in the slow movement where Walter brings out detail with candour but without any kind of finicky over-scrupulousness. Genial and leisurely – and without any crunching tutti weight – the finale is of a piece with Walter’s mature perception of the symphony. It’s a young man’s work but seen somewhat through avuncular and retrospective eyes.

The Unfinished was recorded two years earlier, this time in New York. Poised and patrician once more this is a reading that concentrates on lyricism rather than incipient tension or internal dynamic contrasts. The orchestra sounds notably fine and Walter’s direction retains a grand seigniorial approach, one that will perhaps disappoint those who might have missed the spirit of his fiery wartime performances with this orchestra, a time when he seemed on occasion hell bent on recreating Toscanini’s sweeping dynamism. Nevertheless his later approach certainly makes up in warmth and spacious breadth – especially the second movement – what it lacks in velocity and power.

-- Jonathan Woolf, MusicWeb International [reviewing Sony 78741]