The high promise of Jeffrey Tate's first HMV record of Mozart symphonies, coupling Nos. 40 and 41 (EL270154-1, 2/85) is splendidly reinforced in this second instalment of a projected series. Since I wrote that last review Tate has been appointed Principal Conductor of the ECO—the first appointment to such a post—and plainly he draws from those players a special responsiveness. Without ever falling into the excessively smooth and moulded style of Karajan (DG) his readings are more expressive and detailed in phrasing and rhythmic pointing than those of Bohm (also DG) or Davis (Philips).
The phrasing of the first theme of the first movement Allegro of No. 39 for example, is meticulous with beats two and three slurred together as marked, but the result is just as fresh as with Davis or Bohm. In the Andante Tate at an easy tempo not only points out the rhythm and phrasing than Davis or Bohm, with a hint of exaggeration in the dotted rhythm, he brings out more than usual the textural contrasts of strings and woodwind in choirs. The extra inner clarity of the ECO compared with the Vienna and Dresden orchestras suggests an apter scale, though in placed in Symphony No. 39 the clarinet with almost rustic tone tends to stand out even in tuttis. As in Nos. 40 and 41 Tate believes in giving structural weight to Mozart's late finales, and in No. 39 he repeats both halves (Davis repeats the first half, Bohm neither half). The superb articulation of quavers adds to the brilliance and exhilaration with polka-like triviality avoided.
In the brief ''Italian Overture'', No. 32, and in the Haffner Tate achieves comparable exhilaration at relatively relaxed speeds no faster than Bohm's. On the one hand he finds extra elegance, on the other he brings out the dramatic contrasts—often involving minor-key episodes. More than usual No. 32 feels like the overture to a comic opera. Tate relishes Mozart's brilliant anticipation of Rossini crescendos at bars 49 nd 236, while the central Andante has the lyrical flow of an aria. In the Haffner, following the Robbins Landon critical edition (Faber: 1971), Tate avoids an exposition repeat in the first movement, but then does repeat the opening section of the Andante. The Presto finale may not be so hectic as usual, but with extra swagger and with syncopations dramatically punched home, this movement brings the most exciting playing of all. Many years ago Daniel Barenboim made a fine Mozart symphony series with the ECO, but with less extreme speeds and more refined playing Tate is now outshining even that achievement in performances ideal for those who resist period instruments, yet want freshness and clear textures on the one hand, warmth and sparkle on the other. There is a pleasant bloom on the sound in a far-from-dry acoustic, while inner definition is admirable.'