Royal Philharmonic Orchestra

His performance of this very familiar work (Rachmaninov's Symphony No. 2) I would place at the head of the list. Litton's identification with this material is hardly less complete than the composer's own. There is not a phrase that doesn't ring true, that is less than irresistably convincing. Besides being able to sweep the entire orchestra along with him in terms of committment as well as expertise, Litton shows an unfailing tastefulness that must be instinctive.

Litton's (recording of Elgar's Enigma Variations, In the South and Serenade for Strings) is...one of the best performances ever recorded of this festive evocation of Alassio, Italy — a piece that is notoriously difficult to hold together in a performance. It is a tribute to Litton's maturity as an interpreter and his innate musicality that he succeeds so well where noted Elgarians such as George Solti and Daniel Barenboim have failed.

Overall, honesty and complete competence rule these performances (of Elgar's In the South, Enigma Variations and Serenade in E Minor for String Orchestra), placing them in the best of company: Boult, Menuhin, Barbirolli, Gibson, and yes, in the Big Work, Toscanini. Richly detailed, well-balanced, unfussy recording. Highest marks.

American conductor Andrew Litton leads the Royal Philharmonic in an impressively probing performance of Mahler's First Symphony; he finds a viable sonic equivalent for each of Mahler's scrupulous performance directions.

Litton appears able to emphasize details deep within the music without losing the thread of the music's discourse. The brass is bright, and the winds imply affirmation. They make the performance (of Mahler's Lieder eines fahrenden Gesellen) a showy musical event rather than some brooding musing on Mahler's own sad songs. But this work can absorb dissenting interpretations, and the orchestra's brisk and energetic approach is valid.

[Litton] is a conductor with rhythmic flair and communicative appeal that together make it unnecessary for him to indulge in untoward gestures and any sort of attitudinising. His technique is beautifully pruned; he uses Boult-like retiscence, even while his major decisions are very firmly taken.

The relish which Litton brought to every piece — at once breezy (which is not to imply superficial) and ardent — was infectious from first to last. Litton's way with both Bernstein's Candide and Elgar's In the South overtures was bright, uncluttered — flamboyant in the nicest sense, and full of robust passing pleasures. He bounced Copland's Rodeo suite to a brilliant conclusion, almost as if he were square-dancing himself....a natural romantic conductor.