Prometheus unbound opens ruminatively, with a disconsolate air, momentarily interrupted by dramatic brass chords. It proves to be an expansive Lisztian symphonic poem, with the main allegro setting off vigorously. There is a fair share of melodrama, some lyrical ideas of considerable charm expressed by flute and oboe, and of course the strings, but the working out of the main allegro material is a bit laboured. This is not Butt's fault: he and the Philharmonia make a strong case for a piece that has its moments, but is unlikely to gain a foothold in the repertoire.
The Second Symphony is more interesting. There had been a First (1860), but it proved abortive; only the Scherzo was published. So Goldmark wrote the Rustic Wedding Symphony, Op. 26, which is more of a suite. Then in 1887 he tried again and produced quite a considerable piece. Its first movement has a strong forward impulse – a combination of Brahmsian sweep and a lighter Mendelssohnian charm. The imitative working out is distinctly appealing (far superior to Prometheus) and the recapitulation confirms that structurally (after dallying with the more easily manageable theme and variations in his Op. 26) Goldmark could manage sonata form with skill and flair. The Andante, with its dotted main theme, has moments of impulsive drama, but its basic lyrical mood is imbued with melancholy, which lightens at the expressive climax, and which Butt and the Philharmonia strings handle eloquently. The tripping scherzo has a delicious Mendelssohnian lightness and charm: then the trio surprises with its piquantly restrained (almost witty) trumpet chorale.
The finale is rustic in atmosphere and its dancing, folksy main string theme and its (rather catchy) softly contoured woodwind counterpart confirms the symphony overall as very much a pastoral evocation. Butt's pacing and commitment cannot be faulted, and the Philharmonia's playing shows that he has worked hard to secure unanimity of ensemble, yet not lose the freshness and spontaneity of the music-making that comes readily when a first-rate orchestra responds to unfamiliar music. The disc is completed with the In Italien overture, a riper performance than with Gunzenhauser on Naxos, not quite so light-textured, but enjoyable in a different way (the moonlit central scene is most evocatively done). If you like second-rank symphonies, this very well recorded disc is worth exploring. '