...The performers understand better. By playing up the wild, demonic elements in the music, Hartmut Haenchen gives it a compelling originality that mighthave made the embarrassed composer think again. It emerges as a striking piece, raw but with a freshness and verve that need no apology. I have never been so impressed by it.
Haenchen also stresses the romanticism in Mendelssohn's early symphony, which the players tackle with similar exuberance. They are a splendid ensemble, with the unanimity that springs not merely from technical exactness but from a shared perception of the music. The Italian Serenade is more lightly played, and suitably recorded with a slightly different acoustic; and the Siegfried Idyll is played less as an orchestral showpiece than as chamber music, as if on that first morning on the wide stairs of Wagner's house at Tribschen.