Any conductor who makes a new recording of repertoire in which he has already done sterling work and fails to surpass himself should have his baton hand amputated. Sound harsh? Okay, I’m exaggerating, but let’s not forget: Mariss Jansons first came to international attention with his superb recording of this very symphony with the Oslo Philharmonic for Chandos. That label committed to him when no one else would; it has a right to profit from the risk it took and the investment it made. Artists, notoriously, seldom give a damn. They say, “Oh well, this new version represents my thoughts on the work now,” as if the universe were waiting with baited breath for yet another recording of Tchaikovsky’s Fifth with Mariss Jansons.
Don’t get me wrong, Jansons still conducts a pretty splendid Tchaikovsky Fifth. However, in the first movement’s second subject, and the disappointingly flat coda of this otherwise excellent Francesca, he indulges a penchant for sudden diminuendos that sucks the juice right out of the music. Why does he do it? It’s not expressive (in the former case) nor exciting (in the latter). Otherwise these are very good performances, generally swift, incisive, and powerful, and so similar to Jansons’ previous effort in the symphony that it begs the question of his rationale in remaking it in the first place. So while I am duty-bound to acknowledge the artistic qualities of the music-making, which are considerable, I cannot do so without raising the issue of Jansons’ wisdom in permitting this release.
