In this opus 13 captured in February 1966 the nostalgic overtones are thereby foreclosed. So much we would have liked to hear a more expressive oboe in the Adagio cantabile, concluded with a horn complaint that pulls no tears.
The Russian leader highlights the nervousness Scherzando rather than its evanescent lyricism and the finale brilliantly diligent without being able to maintain interest in the reappearance of the mournful Andante (8'10-) which causes a detrimental voltage drop.
This interpretation accurately reflects the strengths and weaknesses of a partition that the young Tchaikovsky toiled to structure.
In the Allegro of "Little russienne" captured in March 1965, Markevitch combines, voltage and current pace without rushing. This cleared by a transparent textures which was always a mark of his style whatever the repertoire. However, the London orchestra does not sanitizes: note the intervention of tasty trombone at 7'08.
A nonchalant lightness strand to the march of the Andantino. Scherzo chanted firmly but without heaviness.
The Finale begins with a choral tutti that the head is bathed in light, before sharpening brio which however does not reach the melodramatic jubilation qu'Antal Dorati fanned with the same orchestra (Mercury).
Markevitch was also a prominent rhythmist. In the Symphony No. 3, the crescendo of the transition to the Introduzione Allegro federates with a rare evidence. Outstanding management relaxing beaches and moments of exaltation where basses provide a foundation in both moving and strong.
Without grace, the Waltz sees meticulously crafted. Like the Andante elegiaco: but too sober in the discreet charm dissipates.
The undulating Scherzo is suggested with a diaphanous fluidity Mendelssohnian but its phantasmagoric character escapes the leader.
The Finale is guided with an energy, a truly radiant ductility!
Markevitch recorded at least three times "Francesca da Rimini". This version with the New Philharmonia (October 1974) has an extraordinary precision creation -which is not a small feat to face formidable technical difficulties this work Liszt. Zeal too clinical or admirable purity of phrasing? : Each judge.
However, admit that the flamboyant play with the orchestra Lamoureux (Deutsche Grammophon, 1959) unleashed hellish vortex even more spectacular.