With the Hindemith centenary over, issues of the Mathis Symphony are, thankfully, easing up. That notwithstanding, the current Gramophone Classical Catalogue lists 18 rivals to this new version. Presumably, the newcomer’s appearance means that Chandos will not obtain a reading from Yan Pascal Tortelier, who has such an intuitive feeling for Hindemith’s music. Like his French stablemate, Belohlavek takes an expansive approach to the composer. This works best in the Konzertmusik, too often dashed off as a kind of study for the Mathis Symphony, but which is here given a reading of intensity and grandeur, without Bernsteinian histrionics. The close of the first of its two movements has rarely sounded so eloquent; those familiar with Blomstedt’s somewhat underplayed account will have their ears pinned back, and Chandos’s sound clearly outstrips EMI’s for the composer (made 40 years ago). I also marginally prefer the Czech PO’s sparkling new account of the Concerto, fine as Albert’s is, though the latter’s concerto couplings may make CPO preferable for this work.
Inevitably, many will look to this disc primarily for the symphony. To my mind Belohlavek is far too casual, bringing out little of the underlying drama (especially in the finale), precisely the attribute that makes the Konzertmusik so compelling. I would place this Mathis somewhere ahead of Albert and Abbado, but Blomstedt and Sawallisch (and the composer’s shade) can rest easy. However, it is decently played, and the couplings are what make the issue worthwhile: buy it for them.'