Young Uzbek conductor Aziz Shokhakimov became music director of the Orchestre Philharmonique de Strasbourg in 2021. This is their first recording together for Warner Classics although, sadly, it’s not the most auspicious of starts. Both the symphony and the Romeo and Juliet filler were taken from two concerts at the Salle Érasme in October 2022.

It’s an adequate performance of the Fifth. The solo clarinet at the outset is bland in tone, although things tick over neatly once we reach the Allegro con anima section of the first movement. But does the drama really tell? Shokhakimov’s rubatos feel over-rehearsed and tempo changes are sometimes anticipated earlier than the score indicates – he really slams on the brakes in the Molto più tranquillo (bar 170, 5'46"). Warner’s recording feels tame, with Tchaikovsky’s fff and ffff dynamic markings not registering fully.

The horn is decent in the Andante cantabile but Shokhakimov’s transitions feel clunky, with a few ridiculously extended ritardandos. Big moments fall flat. In the eruption in the middle of the movement (7'00"-7'20"), you should feel the hand of fate gripping your shoulder; this sounds like a polite tap. The Valse is brisk and purposeful, while the finale is bracing and strong, easily the best movement for Shokhakimov until – inexplicably – he inserts a whacking great cymbal crash at bar 502 (10'35"). Tchaikovsky’s Fifth is not scored for cymbals.

It’s unfortunate for Shokhakimov and his Strasbourgers that this album was released around the same time as Manfred Honeck’s staggering new disc with the Pittsburgh Symphony (Recording of the Month, 9/23), another recording made in concert, but one that wipes the floor with this underwhelming effort.

The makeweight is effective, Shokhakimov conducting a well-shaped Romeo and Juliet, whipping up plenty of drama. If only more of that had spilled over into the symphony.