Not a Pathetique as autobiography written in blood, sweat and tears, but one of impressive symphonic rigour: ''music that is all self I cannot do'' (Wand himself, interviewed in January 1992, page 31) Don't expect the emotional extremes and extraordinary orchestral standards of Pletnev (Virgin Classics). Or the dynamic range: set this at a realistic level (the level is lower than for the Stravinsky coupling), and Wand's opening starkly traces the downward motion of the double basses—this is no mere atmospheric fading in—and it is mirrored in the finale's coda by the forceful accenting in the second theme (dark, bitter, almost defiant, not the more familiar sobbing, self-pitying farewell). And although Wand is rigorous, this reading is a far cry from the rather formal 1953 Cantelli (EMI, 10/89—nla), with a great deal more expressive warmth and natural flexibility: those slackenings and hastenings Tchaikovsky marks over his cantabiles are all beautifully managed. For a while I wondered if there was going to be enough temperament in the performance; the violins are not encouraged (not able?) to give much in their sweep up to the first fortissimo (at 2'20''), or in the more passionate second appearance of the second theme (from 6'39''). The accompaniment at this point is effectively upgraded—another of Wand's ideas that gives 'strength' to his reading; but why the consistent removal of a quaver's worth at the end of the first phrase (second bar) of the finale's first theme? And there are imprecisions: an urged crescendo at 3'10'' in the scherzo/March is excitingly 'of the moment' but the return to piano at 3'31'' brings string playing that is both loud and rhythmically ill-defined.
The strings are in difficulty as well in parts of the coupling. Big-band Pulcinellas are beginning to sound anachronistic these days, but if this lacks chamber group textural clarity and 100 per cent nimbleness of execution, it does not want for elegance of gesture, warmth and wit. A small textual point: the first flute seems to ignore the turns in the Gavotte after fig. 75 (track 6, 1'06''). RCA's sound from the Hamburg Musikhalle is up to the usual standard, i.e. broad, deep and natural—no frills.'