These are impressive performances. Slatkin's overall interpretation of the elusive, often misunderstood A Pastoral Symphony is compellingly atmospheric, finely structured and full of revealing insight (a rare commodity in recordings of this particular symphony). Orchestral balance—especially in the first movement—is particularly well handled too, with principals and soloists providing some beautiful solos, and on the whole tempos are sensitively struck. Interestingly, the first movement is a mite slower than Handley's RLPO account for EMI Eminence (the only serious rival here) but, although there ate moments where the forward impetus of this movement comes dangerously close to extinction, the music is never allowed to 'over-wallow', and there is a strong feeling of appropriate poignancy, not only here but throughout the symphony in general. More detailed comparisons with Handley's reading bring out a few minor reservations: there's more memorable incident regarding melodic phrasing and dynamic climax with Handley, and to my mind he digs deeper into the heart of the symphony, especially in the strangely elusive scherzo where, for me, Handley is more successful in bringing out the uneasy undertones of the movement. Slatkin's reading of the final movement, however, has much beauty and no shortage of noble splendour. Incidentally, Slatkin appears to have taken Vaughan Williams's direction that the wordless soprano should sound 'distant' rather literally, since we are informed in the booklet notes that Linda Hohenfeld's very fine contribution was indeed recorded several thousand miles away—in Powell Hall, St Louis, six days after the orchestral recording in Watford Town Hall, England. Joking aside though, if the idea of such technical jiggery-pokery sends shivers down your spine, fear not, for all sounds very natural and uncontrived.
The more (new) versions of the Fourth Symphony I review, the more fascinated I become with this extraordinary masterpiece—in fact I'm seriously beginning to view the Fourth as one of the finest symphonic arguments in all British music. As for this recording, I'll not beat about the bush—Slatkin's account is breathtakingly inspired, perhaps the most exhilarating VW recording I've heard since Andrew Davis's electrifying account of the Sixth Symphony (Teldec, 8/91). Where it differs from Handley and Thomson is in its sheer intensity and raw, untrammelled power. That's not to say that the rivals don't have this—they certainly do—just that Slatkin has that little extra in hand, making this a truly revelatory reading. The slow movement (slower than most on disc, including the composer's own recording) has stature and breadth, and some beautiful flute playing from Kenneth Smith, and the finale is a real tour de force from the Philharmonia, particularly the brass and horn sections.
To sum up then, the best so far issued of the Leonard Slatkin cycle of Vaughan Williams symphonies. Handley's mid-price Eminence recording of these symphonies still remains my overall recommendation (particularly for the Third), but I urge all VW enthusiasts to sample this disc, if only for the Fourth Symphony. Recorded sound is exceptionally fine.'