A cleanly executed reading of classical proportions. Intelligently conceived, too—Slatkin does vary the tempos in the first movement, but not arbitrarily: there is no accelerando from the moderately slow introduction to the brisk Allegro, but the second subject is more relaxed so that the piu moto of the coda is related to the initial Allegro as is the allargando that Slatkin makes for the final majestic statement of the opening horn call to its appearance at the outset of the movement. This all adds interest without undermining the basic 'walking' pulse. Mackerras's (Virgin Classics) single speed here does, I fear, make for rhythmic monotony.

There is some rapt string playing of the Andante's second subject and when this theme returns after the climax with radiant new colours in the woodwind and garlands of flowing semiquavers on second violins and violas, Slatkin is almost alone in noticing that Schubert asks for the string counterpoint to be louder the second time around (bars 286-98). Norrington (EMI) does too, but with his period strings the effect is, I think, less beguiling.

The finale has a tremendous energetic spin. At Slatkin's headlong tempo there is little room for geniality, but the security of the strings at this speed is breathtaking, and the triple forte climaxes in the coda are powerfully placed.

-- Jonathan Swain, Gramophone [6/1990]