The success of Jansons and the Oslo Philharmonic in Tchaikovsky's Fifth Symphony (ABRD1111, 3/85) might conceivably have been counted a fluke. This dazzling performance of the Fourth, unusually fresh and natural in its expressiveness, puts it beyond doubt in that Jansons, trained in Leningrad but with regular connections in Oslo as Chief Conductor, has transformed this orchestra into a band which in virtuosity as well as committedness matches any of those listed above. I feel tempted now to describe it—in compliment too to another orchestra outstanding on record—as the Montreal Symphony Orchestra of Europe.
The wide reverberation of the Oslo Philharmonic Hall, where the recording was made last November, is very apparent in the brass calls of the motto theme at the start with its long pauses. But the opulence of sound and the natural weight of the playing are for me more compelling than the fiercer manners of, say, Solti and the Chicago orchestra (Decca). Janson's idea of Moderato con anima is on the brisk side, with the compound time lightly sprung in contrast with the opening. What is striking about Janson's view of the whole movement—as it was in the comparable movement of No. 5—is the ease with which he moves between the many sections with minimum change of tempo. You might argue that Tchaikovsky's markings require more marked changes between sections, but there is no denying the extra feeling of structural co-ordination that Jansons achieves with no sense of the music being put in a strait-jacket. As a rule, I rather like the clarinet theme which opens the second subject (bar 115) to be coaxed in, but with the dotted rhythm sharply pointed the new sparkle of Jansons is most refreshing, and the artistry of the first clarinet (evident in other movements such as the military band episode of the Scherzo) ensures that there is no feeling of stiffness. As for the other sections of the second group, even more than usually they have a balletic quality, with dynamic shading as well as rhythms finely controlled.
In the Andantino Jansons adopts a similar speed to Abbado (DG), just as flowing but more expressive following the instruction in modo di canzone. Occasionally he introduces a gloss in dynamic shading, as in the subito piano at bar 52, unmarked but perfectly valid in the shaping of phrase. The Scherzo is even faster and moe lightly sprung than with Abbado, while the finale like the first movement conveys its excitement with little or no illicit whipping up of speed in accelerando. One distinctive dynamic point is the way Jansons, in the opening of the second subject, presents the fourth phrase in echo of the third (bar 66). With sound, broad, full and warm, that outshines all those in the fine vesions listed I have to give the strongest of recommendations to Jansons, and on CD that preference should be even more emphatic.'