Records: Scottish Chamber Orchestra's Brahm's: Symphony no. 1

By Michael A. Lewanski, Jr.

This recording of Brahms's First Symphony, like much of conductor Sir Charles Mac-kerras's work, strives to correct the traditions and historical misinterpretations associated with any great piece of music, reconciling the use of period and modern instruments under the umbrella of "historically-informed performances." In this respect, the recording is a welcome addition to the catalogue. Maestro Mackerras's research into performance practice has paid off, and the result is truly revelatory.

The problem is that in his search for precision and accuracy, Mackerras takes away the epic qualities of the first and last movements of this symphony and replaces them with a version which is clean, clear, and boring. Brahms, for all his apparent conservatism, created an incredibly individual and unique piece of music in the First Symphony (this is the reason he took at least 15 years to write it), and it deserves to be treated as such.

The performance is not entirely worthless, however; the second and third movements respond wonderfully to Mackerras's treatment. In this passionate reading, all of the interesting harmonies and under-voices can be heard in their full glory. The violin-horn-oboe trio in the second movement is particularly compelling, as it realizes Brahms's intention of creating a new sound through an uncharacteristic combination of instruments.

Mackerras's reading in the outer movements does not do justice to the work, however. The playing is mechanical and superficial, the rubato excessive and ill-considered. The sudden tempo change between measures 158 and 161 in the first movement is a perfect example of a rather silly exaggeration of what Brahms intended. In addition, the last movement lacks the momentous grandeur of so many other great performances. One feels no sense of a new beginning during the magnificent horn solo in the introduction, rather a thinly textured C major which seems to have little relation to that which went before it. The Academic Festival Overture responds better to Mackerras's touch, probably because it is a lighter piece of music.

Mackerras's innovative style provides a new look at a classic favorite, but unfortunately his contribution is hampered by substandard playing and a new set of misinterpretations. This release is for those with a special interest only; if you just want a good recording of the symphony, I encourage you to look elsewhere.

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