The opening is transparent, the triplet semiquavers on second violins and cellos pianissimo but definite. Rhythmic snatches from first violins and violas that prophesy the main theme a few bars later rise out in an undertone as instructed. Every note registers. Douglas Boyd balances the instruments with care…

Boyd’s conducting reflects an awareness of magnitude. He doesn’t plane jagged edges or reduce vehemence…yet finds space for the flexibility to express feeling where necessary…heard in a compassionately discerned slow movement, phrases are shaped within the specified beats. Orchestra, soloists and chorus seem to be empowered by their conductor, who also holds his forces in fine equilibrium. Here, then, is a cohesive, powerful but unpretentious interpretation of the Ninth from a musician of high promise.

Boyd’s conducting reflects an awareness of magnitude. He doesn’t plane jagged edges or reduce vehemence, yet finds space for the flexibility to express feeling where necessary. Orchestra, soloists and chorus seem to be empowered by their conductor, who also holds his forces in fine equilibrium. Here, then, is a cohesive, powerful but unpretentious interpretation of the Ninth from a musician of high promise. © 2012 Gramophone Read complete review on Gramophone