Writing of the early Idyll and Suite for strings, annotator John Tyrrell suggests that ‘there is virtually nothing that even hints at the mature Janaeek’. Viewed superficially, he’s absolutely right. Neither work startles in the way that mature Janaeek does, and if you think ahead to the two ‘late’ string quartets, you realise how far Janaeek was destined to travel. But there are still some parallels. The Suite in particular courts unexpected key sequences and a restlessness that suggests a dawning originality. Elements of the Idyll’s fourth movement hint at an almost Ivesian quirkiness, and there are unexpected harmonic twists – nothing outrageous, just a little strange – that register rather as surreal asides in an otherwise normal conversation. As to the rest, it’s mostly a case of post-baroque or post-Dvorak (that most of all), with – on this occasion – some stylish playing by the Norwegian Chamber orchestra. Iona Brown conducts early Janaeek much as she might Grieg’s Holberg Suite, with absolute rhythmic security and a firm sense of musical line.
Bartok’s Divertimento is another beast entirely, earthy in the outer movements, unsettling in the Molto adagio and with a hilarious joke up its sleeve to close. Here I found Brown’s manner just a little too robust, though rather that than ill-focused contours or sloppy rhythms. The first movement might have benefited from a little more give in terms of phrasing, and the folk-like finale from a lighter touch, though the ‘Pizzicato Polka’ send-up is played with great style.
Good rivals are plentiful but I would cite either Solti or, more especially, Dorati and the BBC Symphony (Mercury, 7/66 – nla) – whose tempos are generally very close to Brown’s – as having the surer grasp of idiom and overall accent. In other respects, though, the Norwegian CO offers us an enjoyable programme, crisply executed and nicely recorded by Andrew Keener and Tony Faulkner.'