Mariss Jansons and the Oslo Philharmonic round off their remarkable Tchaikovsky series for Chandos with an electrifying reading of Manfred, which shows them at their very peak. With sound far fuller and sweeter than on either CD rival, yet with admirable transparency, it must now stand as a clear first choice, and could well do so for a long time.
With its unconventional, Berlioz-inspired structure, this is a more difficult work to hold together than any of the numbered symphonies. With speeds which—except in the Vivace of the second movement—are markedly faster than those of Muti (EMI), Jansons finds an extra tautness, but without any cramping of expressiveness. As he has consistently shown in his Tchaikovsky recordings, he is a master of Tchaikovskian rubato, so that though the moulding of phrase and rhythm are in effect extremely subtle, they sound totally fresh and spontaneous, with melodies newly minted.
So in the main Manfred theme set out in the long, slow first section, Jansons at a flowing speed is more deeply impassioned than Muti, and builds tension inexorably, never staying on a plateau of fortissimo—as by comparison Muti tends to—but subtly varies tensions, often recoiling for the moment to thrust home still harder. The Astarte theme is then ravishingly beautiful, with pianissimos of whispered delicacy and refinement. Yet Jansons's treatment conveys the sweet freshness of a folk-song with nothing over-sophisticated in it, giving a beautiful and apt characterization of the heroine.
In the second movement Jansons's relatively relaxed speed brings extra delicacy, relating Tchaikovsky's characterization of the Fairy of the Alps to the fairy music of Mendelssohn, with pinpoint articulation and clarity, making Muti, for all his excitement, sound a little breathless by comparison. The counter-subject is then warmly persuasive, one of Tchaikovsky's most haunting ideas, and the slow movement, like the first movement, at a flowing speed, cajoles the ear with the naturalness of rubato and with honeyed oboe sounds in the opening solo. The Shepherd's pipe music is then faster than usual, very crisp, before the main theme returns in sumptuous glory.
Jansons reserves his full impulsiveness for the finale, which at high speed brings superb, exciting playing. The mood is frenetic, but the control and precision are if anything more immaculate than in Muti's much slower performance, which takes almost two and a half minutes longer over this movement alone. The excitement of Jansons's reading culminates in a thrilling entry of the organ, supplemented by luxuriant string sound. Here again Jansons's ability, even at a peak climax, to vary tensions makes this seem less vulgar than it can be, and without any diminution of power. This Manfred recording makes a fitting conclusion to an outstanding series. I hope that Chandos will now think of repackaging all seven discs as a complete set. It would certainly be my first choice of any.'