Marriner's earlier recording of these two symphonies (Argo, 11/84—nla) offered fresh and resilient readings of both works, very well recorded, but in neither symphony was the exposition repeat observed in the first movements, particularly damaging in the Italian with its long lead-back. Marriner's new version not only rectifies that omission, but offers performances with other advantages too, and with no great modification in Marriner's direct and sensitive approach.
The broad difference is that speeds are generally a fraction faster in the new performances, which in the slow movements is a clear advantage, particularly when the Academy violins are even sweeter and purer than before, helped by a recording a degree more refined. In the fast movements there are also many gains—as in the Scherzo of the Scottish which is lighter and more transparent, but some disadvantages too, as in the first movement of the Italian, which, though wonderfully clean and clear, seems a shade hard-driven, not able to relax so readily as the joyful earlier reading. The coda to the finale of the Scottish reverses the trend, and Marriner chooses a slower speed this time, making the passage a fraction heavier and less buoyant, leading up to the great whoops of joy of the unison horns.
Such contrasts are only marginal, and in every way the new issue is a front-runner in what has become a hotly competitive field, for though I have picked out the superb Blomstedt disc as the main comparison, there are half a dozen others of the highest quality, including Abbado (DG, 2/90) and Lubbock (ASV, 12/87) at mid- or bargain-price. My first choice would still be the Blomstedt which, as well as conveying the bouncing exhilaration of Mendelssohn's inspiration as few recordings have done, has a warmer, fuller recording. I prefer his more flowing speeds for the slow movements too. However, the freshness and extra transparency of the Marriner disc are also very appealing, and the disc must stand as another outstanding recommendation. '