These are fleet and economical Brahms performances, influenced by period performance practice (as evidenced by that style’s sawed-off phrase endings). The orchestral balance favors the winds over the strings, imparting a more classical sound than the lush, romantic string sonorities heard in “traditional” performances. By taking this approach Vladimir Jurowski aims for, and achieves, textural clarity along with terse argument, which benefits Symphony No. 1 in particular. Jurwoski’s lighter-textured first movement brings a refreshing change from its usual Sturm und Drang, and his alacrity and forward momentum help the finale glide through those “academic” passages in the development.
However, the conductor’s propulsiveness shortchanges Brahms’ more emotional passages. The first movement’s introduction comes off disappointingly droll (this is where you really want some Sturm und Drang!), and the scherzo’s bright, dancing trio sounds colorless, (partially due to the near-inaudibility of the trumpets).
Symphony No. 2 moves quickly as well, particulary the first movement (though not so fast as Chailly’s recent rendition), where Jurowski ably conveys the music’s sunniness. However, he tends to play down the darker passages (first-movement climax; second movement’s dramatic center) by not allowing the brass sufficient prominence in the overall texture. Even the arresting trombone chord at the end of the finale sounds held-back, which is a bit disappointing as Jurowski’s swift and stirring pacing recalls Jochum’s blistering performance.
The London Philharmonic plays handsomely, and the fine-sounding live recording (replete with audience applause) provides the proverbial “sense of the occasion”. Although not the finest Brahms First and Second you can buy (see the recommended versions), Jurowski’s fresh approach is sure to stimulate the ear and keep listeners interested throughout (especially for those who’ve heard these works one too many times).
