This month I am almost embarrassed by riches, with the arrival of the fifth (!) complete recording of what I am increasingly coming to count Tchaikovsky's most rewarding ballet score, and for those readers who like a fairly clear decision in such matters I think this must be first choice, if only just. Indeed, it is the marvellous sound of the Telarc CDs that clinches the matter.
The recording engineer is the illustrious Jack Renner who gave us Telarc's famous Pictures at an Exhibition (CD CD80042, 11/84) and masterminded all the early digital Cleveland CDs. Here he has the advantage of the acoustics of Watford Town Hall and his microphone placing is very perceptive. Direct comparison with the technically brilliant Previn/ EMI set is very instructive. Fine and real as that is, with perhaps even greater clarity of detail, the ear can readily perceive that it was made in a recording studio, albeit one with first class acoustics; the Telarc set has the subtle extra resonance of a concert hall, which adds a little glamour to the violins and a glowing extra warmth to the middle and lower range. Yet there is no blurring and no 'empty-hall' feeling—the reverberation sounds just right.
Now to the performance. Mackerras is renowned for the vitality of his conducting and he takes the ''Miniature Overture'' just a shade faster than Previn. But the playing is deliciously neat and the sweetness of the recorded violin timbre adds a little mellowness. Throughout the party scene Mackerras presses on rather more than Previn—nearer to Michael Tilson thomas on CBS—yet he is never inflexible and has a fine flair for detail. From scene 5 onwards the action becomes quite riveting; the Telarc recording opens up its spectacularly wide dynamic range, and we have a taste of what is to come when ''The magic spell begins'', the Christmas tree grows to a great orchestral climax and we are made aware of how Tchaikovsky adds to the depth and sonority with his writing for the tuba (this is especially striking again in the gloriously sumptuous sound for the climax of the great Act 2 pas de deux). Mackerras creates an 1812-like excitement in ''The Battle between the Nutcracker and the Mouse King'' and Jack Renner interpolates some real canon and gunshots to add to the sense of spectacle. But it is done judiciously and good-humouredly, for this is a a battle and the effect stays in perspective. (''Caution!'' says a note on the sleeve and even notes the location of the two canon shots in case ''damage could result to speakers or other components''. But, frankly, that is hardly likely.)
One of the key moments in the ballet for me is Tchaikovsky's thrilling climbing melody when Clara and Prince travel through the pine forest to the Prince's fairy kingdom, and Mackerras gives this a glorious serenity helped by the glowing sound and the fine LSO playing. As with the RPO under Previn and the Philharmonia under Michael Tilson Thomas, the LSO are on top form in the ''Divertissement'' that forms the main part of Act 2. Mackerras's approach is sparkling rather than elegant, and here Previn comes into his own. If it is this part of the ballet rather than the narrative feel of Act 1 and the first part of Act 2, that is most important, then Previn wins on points. His ''Dance of the flutes'' is more relaxed, for instance, and there is a pervading easy finesse in the RPO music-making that is particularly beguiling. Yet in the choral ''Waltz of the Snowflakes'' Mackerras's spry lightness is very pleasurable, the chorus timbre is warm and the accelerando at the end is convincing. On the other hand he does a self-conscious ritardando in the last bars of the ''Waltz of the Flowers'' which is unnecessary, and again Previn is very beguiling here.
There is enormous enjoyment to be had from both sets, and indeed the CBS one too, but the gorgeously expansive Telarc is most impressive when Tchaikovsky lets himself go, and no other nineteenth-century composer—not even Berlioz—could score a romantic orchestral climax better than he. As an appendix we are offered the ''Duet of Daphnis and Chloe,'' a charming vignette from The Queen of Spades; this is used in the Maurice Sendak film of the ballet. It is nicely sung and the recording is distanced (it is an 'off stage' scene in the film, which I look forward to seeing). The Telarc notes are splendid, a model of their kind, with a long discussion on the ballet, plus a detailed synopsis and then more information about the artists involved; this presentation is far superior to the EMI documentation.'