Interesting that the symphony included here that is played by the Chamber Orchestra of Europe Claudio Abbado recorded with the Vienna Philharmonic, and the work he plays with the Vienna Philharmonic he recorded with the COE. I loved this performance of the Unfinished – so much more tension than on the COE recording, and although the first-movement repeat is omitted (it is included on the later version), such is the high level of concentration achieved that in a sense you hardly need the music a second time around. There are some wonderful pianissimos too, especially at the onset of the development section. The beautifully paced Siegfried Idyll is another gem, again graced by some exceptionally sensitive playing: the closing pages in particular are superbly done.

In the case of Beethoven’s Second Symphony, there are now four Abbado options to choose from: DG’s recording with the Vienna Philharmonic (the closest in proximity to the current release) and two versions from the turn of the present century, one on CD, the other on DVD, and both with the Berlin Philharmonic. Although this COE ‘first release’ is typically transparent, with lively playing and an expressively balanced Larghetto, I’m a little bothered by one or two tiny mannerisms. For example, there’s a short pause before the Scherzo’s Trio (there isn’t on either the Vienna and Berlin versions); the sforzando chord at bar 95 isn’t played sforzando (it is in Berlin) and Abbado cues an odd little halting gesture just prior to the end of the Trio, a trick he also plays in Vienna but not in Berlin (it really doesn’t work anyway). Then again in Berlin, for the initial repeat of the Scherzo’s woodwind theme Abbado implies an ‘echo’ by playing the passage more quietly than before. He also includes, uniquely for him, the post-Trio repeat. Though hardly of great import, these are fascinating details that give the lie to the idea that as a general rule Abbado didn’t so much ‘interpret’ as report the musical facts: there’s plenty of interpretation on show here. Definitely worthwhile for the Schubert and Wagner; but if your main priority is Abbado’s Beethoven Second, stick with one or other of his lighter-textured Berlin versions.