I found the first volume of Gianandrea Noseda and the National Symphony Orchestra of Washington DC’s Beethoven symphony cycle (11/22) lacking in distinction. Happily, these two new instalments tell a different story entirely – a surprise as this muscular, high-octane account of the Fifth was recorded at the same concerts as the stodgy, lacklustre First. In any case, it’s a Fifth with a clear point of view. Noseda barely holds on to the fermatas at the very opening, establishing a sense of breathlessness that’s sustained to the movement’s end. Indeed, the slow movement has a similar sense of urgency, although this doesn’t preclude moments of tenderness – listen at 7'40", where the violins discreetly employ portamento. Perhaps the transition from Scherzo to finale could be more electric but it’s effective enough, and the latter movement is at once triumphant and purposeful.

The Fourth and Pastoral symphonies are both similarly stimulating. I thoroughly enjoyed the Fourth’s propulsive and punchy outer movements, and some truly lovely woodwind solos in the Adagio made a smudged phrase from the violins (at 8'12") easily forgivable. Noseda’s brisk tempo for the opening Allegro ma non troppo of the Pastoral suggests that our trip to the countryside has us giddy with excitement, yet this thrust is balanced by his phrasing through the bar lines, which makes sense given that the harmonies change much slower than is usual in Beethoven. I do want more emotional investment in those expressive turns that cap the phrases leading into the bird calls in the ‘Scene by the Brook’, but I like how this performance so vividly evokes an atmosphere of refreshing coolness. The peasants’ merrymaking is suitably merry, the storm packs a punch, and although the violins sound thin in the opening of the finale, an uplifting sense of radiance soon takes over.

I’m slightly perplexed by this performance of the Eighth, but only because Noseda generally seems so intent on approaching Beethoven’s metronome marks, and here the first movement is relatively measured. But the Allegretto scherzando is delightfully witty – note how he emphasises the few slurs that pop out from the otherwise staccato texture (as at 1'46") – and the finale finds a careful balance between humour and seriousness. I’m now eager for the cycle’s last two instalments.