Say at once that the text does not suffer any cut, under the Boosey & Hawkes partition.
To dominate the first movement, difficult to unify, Previn has two advantages: the size of its overall vision and its narrative capacity that animates the speech without the rush. It allows each episode of this fresco to develop according to its own logic, without pose or affectation (contrary to what is suggested by the photo of the original vinyl). He knows how to avoid complacent languor by a casual but mobile tempo, and spontaneously responds to changes of atmosphere. Qualities that are also expressed in its full Vaughan Williams, whose works often require similar dramatic painting resources.
To cite a few examples, to observe how 9'35 disturbing chromatic poco piu mosso mounted suggest the concern without exaggerating the effect. At 16'26, bows Londoners do not abuse languor to warm the "calando" requested stage directions.
The alternating tension / relaxation is deftly managed: how Previn include preparing the Coda (17'27-), how it stirs up the "staccato leggiere 'cellos & bass in triplets (19'19)!
The text is played in its entirety, though allegro moderato section (4'46-8'32) is not resumed before attacking the -on development not complain because this redundancy Kurt Sanderling is a very rare to practice I think is strong dispensable.
In the Scherzo, the virtuosity of the orchestra unfolds English unostentatious but strongly. White 131 (126 according to the score) before addressing the second theme in C major, where the chef does not outbid the invitation "molto cantabile".
He directed the central Trio (3'28-5'50) with an efficiency that knows surprised by his love of episode. So at 5'26 (measure 288), a major coup for the surprising cover of fugato. Sulphurous atmosphere, it looks out of the caustic pen of a Prokofiev!
In the Adagio, Previn highlights the difference in character between the two main themes: the first passionate lyricism, he ennobles without excessive pathos; the noble turmoil of the second (4'40), leading to a climax (6'52) treated with an almost masculine strength. So much so that the return of the original melody (7'47) in seems morally strengthened.
The soloists interventions are beautiful (8'35-9'49), so then the balance between desks when violins 1 & horn counterpoint resume the two subjects of the first theme.
While under this wand we could have feared some Hollywood hype, polyphonic density, expressive melody marrow emerge as magnified as dignified.
Previn addresses the Final without histrionics or exuberance, yet in giving it an emancipatory dynamism and voluntary (the phrasing of the second theme in G sharp minor, 1'10-).
It will be seen how he arouses impatience of developing minor (6'39), with descending scales that federate an impending sensation and produce this fantastic carillon, one of the ablest composer finds.
For the recapitulation of the second theme (this time in B major), trumpets and trombones English succeed perfect breathing, a very poetic fragrance.
The resumption of the third theme (12'19, measuring 503) does not let languish and leads to a full conclusion of plume, carried away by a "LSO" great days!
So an ideal drive to discover this work, and honor the talent of a leader is often hesitates to rank among the great.
Difficult to identify its own appreciation as this interpretation is not very typical, but "middle" avoids at least the through where other venerable brethren have erred.
