The Academy of London; a new recording and performing group, has set itself up as an obvious competitor to another, better-known Academy, seeking a reputation in the same repertoire and also using modern instruments. It is centred on a nucleus of expert young American players and aims to create a style which ''combines the virtuosity of American orchestras with a warmth and richness of string playing usually associated with German and Central European ensembles''. (Don't they have virtuosity too?)
Certainly the sparkling account of Mozart's B flat Symphony creates a splendid first impression. Apart from the precision of articulation, the polished ensemble, the gracious, moulded phrasing of the Andante and the bright rhythmitically resilient Minuet, there is a sunny almost Beechamesque quality here too and the vivacious outer movements are smiling as well as brilliant. Pacing is excellent, so it was a disappointment to turn to the G minor Symphony and find the first movement moving forward so swiftly and determinedly that its underlying minor-key expressive qualities are lost. It is not just a question of speed, Barenboim on EMI Eminence is hardly less brisk, yet his resilience of phrasing catches the music's character, while Mackerras (CfP), whose touch is lighter and whose speed is that bit more relaxed is even more perceptive. But in Richard Stamp's hands the rest of K550 is quite appealing in its direct manner and, again, the playing is first rate. The ASV recording too is most naturally balanced.'