Yes, it starts very well and gets irritating soon, giving the impression
the conductor is being original on purpose, fiddling around with tempo
in a way which does not make sense.
The idea of speeding up the 3rd theme of the 1st movement is one worth
trying by curiosity but I think it doesn't work this way and there is a
lot more of this in the performance which is very micro-managed and ends
up just being mannered.
I like the transparency of the orchestra, for what it's worth, and there
is palpable tension throughout, making this well worth hearing.
I just wish the forced originality were a little better inspired. He did
have to find something "interesting" to do with the coda of the 1st
movement and, well it's not all that thrilling.
Good tempo in the Scherzo, people seem to understand at last that this
music is to be played fast - even though it's been known from the start,
with Löwe re-orchestrating it to make it easier to play.
No silly ideas this time. Just right, if a bit lightweight, but I think
this is what this music actually wants to be - a mendelssohnian
fantastic ghost dance.
The Adagio keeps the qualities of the preceding movements without
exhibiting the waywardness of the 1st, at least the idiosyncrasies
invented for the occasion are not disrupting the flow the same way and
can be taken as food for thought. The relatively swift tempo is fine.
All in all I would like to like it ...
It is a pity Venzago did not choose to record a Finale.
--
Lionel Tacchini