Don’t take this the wrong way, I’m all for multiple recordings of non-standard repertoire and contemporary music (they can help to establish performing traditions where the concert-hall doesn’t succeed), but do we really need eight recordings of Gorecki’s Third Symphony? Three or maybe four recordings would certainly suffice – but eight? Why not a premiere recording of another Gorecki work, instead of trying to bleed the last drop of money out of a piece that has already been more than adequately served on disc?
Admittedly, if these super-budget price newcomers had been electrifying, ‘must hear’ performances perhaps I would have been less cynical, but good though they are I’m not sure that they really manage to say anything new about the work. Of the two, I feel that Adrian Leaper, Doreen de Feis and the Gran Canaria Philharmonic Orchestra on Arte Nova give the more inspired and polished performance. Leaper also seems to keep the first movement flowing better, whereas Simonov’s slow tempo seems to lose the thread at times – 27'57'' next to Leaper’s 26'14'' and Zinman’s 26'25'' – it certainly doesn’t convey the burgeoning beauty, if one can call it that, of this movement. Contrariwise, Leaper is slower in the last movement but he maintains a steady, hypnotic pulse none the less. Having said that, the recording sounds a little congested to me, but then neither of these issues is ideal as regards sound. Both the soloists, Doreen de Feis and Susan Gritton, give fine performances – Gritton has a darker-hued tone, which perhaps suits the text better, but I found de Feis sometimes more moving in her delivery – especially in the opening of the second movement.
As for the rival versions, RC (10/94) described the Naxos recording as “virtually as good” as the Nonesuch (the big bestseller), and “exceptionally fine”, but also found the recording more “resonant” and “the orchestral choirs less closely balanced”. In matters of interpretation, however, he noted that Wit left a “more austere impression” which is perhaps more appropriate than Zinman’s sweeter, slightly glossy approach. Turning to Kazimierz Kord’s account on Philips RC found his reading somewhat unsubtle regarding dynamic shading, and also noted a rather heavy overall tread. My own personal preference remains Kamirski’s and Woytowicz’s account on Koch Schwann which, like Wit and Kilanowicz, is more austere in approach.
At the end of the day there are a lot of swings and roundabouts to negotiate here, so if you are after a recording of this work then maybe the easy option would be to go for the tried and tested Zinman/Upshaw account – the choice is yours.'