The spacious introduction to the symphony at once proclaims Otaka’s considerable Elgarian instincts: not only is the playing exceptionally refined and responsive (the strings at fig. 3 truly molto sostenuto as marked – what splendid shape the BBC National Orchestra of Wales are in these days), but he captures to perfection the mood of tender strength and nobility in these bars. The ensuing Allegro has the right urgency and flexibility: one notes again the poise and sheen of the strings, the satisfying weight of the lower brass. I particularly liked Otaka’s wistful handling of the two Poco piu mosso episodes (at figs. 19 and 31) which frame the development section, and the same applies to the twilit coda – the big tune now sounding regretful and resignatory. Otaka’s scherzo is crisp and exciting, the contrasting trio engagingly fresh (almost Dvorakian, in fact). With its expectant opening, purposeful main Allegro and trenchant apotheosis, the finale represents another great success. In fact, my only real quibble concerns the rapt slow movement. For all the sensitivity of the orchestral response, I can’t honestly say I was ever profoundly moved (for what it is worth, I also feel the same way about Slatkin’s similarly broad and poised traversal), whereas tears are never far away when I listen to the likes of, say, the composer himself, Solti, or Boult on a recently restored 1976 Proms broadcast (much more touching than his studio recording made a few weeks later). These are, of course, very personal matters, so do try and hear Otaka for yourselves.
The coupling is a keen-voiced Introduction and Allegro, which again offers ample proof of the healthy state of Otaka’s string section. It is a beautifully prepared, hugely committed display, yet ultimately somehow just a little too pristine and literal: I crave the towering humanity and lump-in-the-throat emotional clout of a Barbirolli in this music. Nevertheless, Otaka’s remains an impressive coupling, and BIS’s enormously ripe sound adds considerably to the listener’s pleasure.'