Bournemouth Symphony Orchestra

In stark contrast Gershwin's Rhapsody in Blue in full orchestral guise, inhabits another world. Litton's dazzling fingerwork left myriad technical intricacies bereft of their potency with unstinting idiomatic support from the BSO. The demand for an encore was Round Midnight by Theolonious Monk in a marvelously moody realization. To top this, Litton turned to Mahler's Symphony No.5, delivered with patrician resolve, coherent and cogent in all its textural layers.

In the hands of Litton and his players, [Walton's 1st] symphony's immense energy, its huge dynamic thrust, grabbed the audience by the throat. Contrasts between the big brassy outbursts and the gentler, more romantic music were bold and highly dramatic.

There was nothing sentimental or indulgent about the approach of Litton and his soloist, Freddy Kempf, rather, an urgency that created an unrelenting momentum, and passionately argued climactic moments that reinforced the symphonic grandeur of [Rachmaninov's Third Piano] concerto. Kempf's rapport with Litton, no mean pianist himself, was instinctive, making this as spontaneous and passionate a collaboration as could be wished for.

Throughout the opening movement of Walton's First Symphony, Andrew Litton ensures that crucial ostinato string rhythms are always sharply defined, sustaining a high degree of dramatic tension. During the development, Litton skillfully builds climaxes layer upon layer, and the cumulative result can be shattering, especially in concordance with Decca's impressively clear instrumental and spatial detailing.

A winning performance too from Litton who realises Walton has so perfectly embedded his 'naughty' references and allusions into his embrace of popular song and dance that they don't need to be underlined. This is equally true of Walton's satire. Litton appreciates Walton's pastiche to a nicety and encourages playing of finesse and exactness from his 'old' orchestra (he was Principal Conductor from 1988-94); throughout, Litton's refinement is a perfect foil for Walton's wit - I don't think I've heard this music better done.

Litton has a natural ear for Tchaikovskian detail — time and again he draws the listener to revel in those delightful orchestral touches with which Tchaikovsky decorates and embroiders his melodies...Superb playing driven along by idiomatically imaginative conducting.

Litton and the BSO were committed advocates of Carpenter's Mahler [Symphony No. 10], and made the symphony a terrifying revelation.

American-born Litton has the flexibility and imagination to get right at the heart of Walton's expressive textures and pungent scoring ideas. Recommended without reservation.

The real jewel here is Andrew Litton's electrifying interpretation of Walton's First Symphony. While there certainly are many other fine recordings of this masterpiece, none that I've heard has the refinement and energy created by Litton and the Bournemouth SO.

In what is one of his finest performances yet, Andrew Litton leads Belshazzar with a level of energy and apparent lack of inhibition reminiscent of the late Leonard Bernstein.

Mr. Litton's gifts...shine and draw one into them. Like the man himself, they are eminently likable. You may or may not be a fan of Mr. Litton's now or in the future, but I can't imagine you would ever find yourself indifferent to him.