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Penguin Guide, January 2009

The following performance from the Bournemouth Symphony Orchestra under Paul Daniel matches Davis’s earlier performance, and the leaner sound of the Bournemouth orchestra brings out the originality more, while the Naxos price gave this disc, with its first-rate sound, a competitive edge.

Harriet Smith
BBC Music Magazine, November 2002

"The Bournemouth Symphony Orchestra and Paul Daniel on Naxos have built on Payne's achievement and demonstrate convincingly that here is a work that can take a variety of interpretative approaches, revealing different facets of this endlessly fascinating work. And the fact that this recording has a further advantage of a budget price-tag is testament to the huge interest this work has generated."

Marc Mandel
Fanfare, November 2000

Paul Daniel’s traversal of Payne’s reconstruction with the Bournemouth Symphony Orchestra is an engrossing, visionary addition to the Elgar discography, with excellent liner notes to complement the stunning performance.

Ian Lace
Fanfare, November 2000

The huge success of the Elgar/Payne Symphony No. 3 has spread worldwide…what an exiting reading it was, with a first movement that had more attack and bite than the earlier Davis NMC recording and a warmer yet equally moving third movement… © 2000 Fanfare Read complete review on Fanfare

Bernard Jacobson
Fanfare, October 2000

"I have not previously encountered the work of conductor Paul Daniel in any comparably ambitious repertoire, and I must say that his leadership here is deeply impressive. As early as the transition to the subordinate theme at measure 26 of the first movement, it becomes clear that he is a more interventionist conductor than Davis, for he takes a much more expansive view of the connotations of Elgar's 'poco rit.' marking. But far from losing unity as a result of his often generous nuances, the symphony as a whole seems to gain in stature and conviction. Nowhere is this more striking than in the Scherzo, which is not merely more briskly paced by Daniel (timing out at 8:26 in contrast to Davis's 9:40), but emerges thrillingly dramatic, and thus more of a piece with the expressive intensity of the entire work. The finale too, which contains the largest proportion of creative contributions from Payne and yet paradoxically sounds the most Elgarian of the four movements, is irresistible in its forward drive and in the unmistakable Elgar combination of aspiration and regret enshrined in the unforgettable second theme.

"No one is going to forget the service Davis-now Sir Andrew-has done the composer with his championship of this noble posthumous work, and with a number of other admirable recordings. But Paul Daniel's new offering must now take first place-at least until something even finer appears, which may, I suspect, not happen soon."

Roger Hecht
American Record Guide, August 2000

"Those who like a more energetic and dramatic Elgar will like Daniel. …[He] allows the music to sing and flow so that the movement hangs together, floating from section to section with airiness, grace, and mystery. His searching reveals the nooks and crannies in this music…[and] makes sense of a movement I once found puzzling."

Bob Crimeen
Sunday Herald Sun (Australia), July 2000

"Klaus Heymann's Naxos label, the phenomenon of world recording in the last decade and a half of the 20th century, could not have chosen a more significant composition with which to celebrate its 2000th release in about 15 years.

"Too ill to complete his partially sketched Symphony No 3, Sir Edward Elgar specifically instructed it was not to be tinkered with-and perhaps should be burned. Thirty-eight years after Elgar's death in 1934, fellow English composer Anthony Payne's attention became focused on the tantalisingly incomplete symphony, the potential of which excited and challenged his creative powers.

"Many frustrations and 26 years later, Payne's elaboration of Elgar's glorious last symphonic statement came to life in London's Festival Hall. The exquisitely executed performance, again revealing Paul Daniel's command of grand-scale and sensitive music, at Naxos' super-budget price is ...irresistible.

"Bravo, Naxos."

Adrian Jack
Classic CD, May 2000

"Daniel draws magnificent Elgarian sounds from the Bournemouth Symphony Orchestra, but he is even more aware than Davis of how far this score reflects the late Elgar, with Ghostly shadow and poignant regret and what he himself called 'stately sorrow' setting the nobler and grander pages in sharp relief. The slow movement is particularly moving; so is the very end of the work. But this is not posthumous Elgar: we may recall how, even in his last years, Elgar loved working with an orchestra, and the sheer enjoyment and delighted discovery felt by Daniel and his players in this performances is heart-warming. It is also stunningly played and sumptuously recorded."

Andrew McGregor
BBC Music Magazine, May 2000

"The rugged opening has massive impact under Paul Daniel and the Bournemouth Symphony Orchestra; the rest of the recording lives up to the promise."

Robert Layton
Classic FM, May 2000

"I should say straight away that Paul Daniel and the Bournemouth Symphony Orchestra give no less faithful and dedicated an account of the piece than did their predecessors. "

Graham Simpson
International Record Review, March 2000

"The recording, made in the Guildhall, Southampton, has an open, natural ambience, never obscuring important detail. This is a release which all but vindicates the symphony's place in the repertoire of the new century."

Hugh Canning
, February 2000

"This recording, on Naxos, is certain to win more friends for Payne's remarkable achievement. Elgar famously left the symphony-commissioned by the BBC in 1932, two years before his death from cancer-in fragmentary disorganized form, and when he knew he was dying he specifically instructed his friend, the violinist William Reed, not to let anyone 'tinker' with his unfinished symphony: 'No one could understand it…I think you had better burn it.' Elgarians must be eternally grateful to Reed that he did not and now to Payne for making a convincing and viable performing version. Certainly this noble performance by Paul Daniel and the Bournemouth SO makes the music sound more Elgarian than previously. Those who may have been disconcerted at the Puccinian flavour of the first subject of the opening Allegro molto maestoso can perhaps accept that Elgar-writing his first big orchestral work since the Cello Concerto of 1919-may have been attempting to update his style. In any case, so much of the melodic material could only have been written by Elgar… The disc-Naxos's 2,000th release-is outstanding and a steal at only a fiver."

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