Marin Alsop, possibly the fastest-rising American conductor on the music scene today, takes on one of the titans of the symphonic literature, Johannes Brahms� Symphony No. 1 in c minor, op.68, with one of the world�s most recorded orchestras. Sir Charles Mackerras, in his ground-breaking 1997 Brahms symphony cycle with the Scottish Chamber Orchestra on Telarc, judiciously juggled his tempos, including liberal use of rubato, for dramatic effect. Alsop does the same in this recording. It strengthens the reading of the first three movements, particularly the very dramatic first one. The slow first theme of the fourth movement, including the well-known alphorn solo (actually played in this recording on an alphorn, not a French horn), is powerful and evocative.

Marin Alsop, one of a handful of women conductors with a viable career on the podium, makes her Seattle Symphony debut April 21, in a program of Tchaikovsky and Dvorak. However, Brahms is the subject on her newest recording for Naxos: Symphony No. 1 plus a brace of overtures -- "Tragic" and "Academic Festival." There is much to admire in her reading of Brahms' First. She is unafraid of slow tempos -- that gorgeous chorale in the final movement, for instance -- and she is not fearful of refusing to exhibit muscle at every turn of the road. There is a sense of organic growth, carefully judged dynamics and a handsome roundness to some of Brahms' familiar tunes. Alsop brings fresh ideas to overworked terrain.

This is an audio-only DVD that launches a cycle of Brahms symphonies by the American Marin Alsop, principal conductor of the Bournemouth Symphony Orchestra since 2002. I hate to bring gender into any review, but I must say that this talented artist will likely become the first woman appointed music director of one of the big-five American orchestras. Either that, or she will take over the reins of a major European ensemble. Mark my words. She knows the three essential things a superior conductor must know: how to capture the spirit and essence of the work in her mind, how to draw fine playing from her musicians, and how to mold that playing to fit her vision of the work. slower renditions of the work, and though I prefer faster tempos in general (not only here but in most orchestral works), I find Alsop�s reading fully convincing, with its especially lovely account of the second movement. The opening panel is dark and less threatening than what most listeners are accustomed to, but it still comes across with plenty of power and a strong sense of urgency. The third movement has a playful serenity, while the range of emotions in the gigantic finale are captured in the proper spirit. In the end, Alsop makes a strong impression in this symphony, as she does in the two overtures that serve as fillers here. The Tragic is the better work in my opinion�I confess to finding the Academic Festival Overture far less compelling than I once did. The sound is slightly recessed on this DVD, but is clear and well-balanced. This is an impressive release and augurs fine things for the continued rise of Marin Alsop.

As is common with lesser-known conductors, Marin Alsop is mostly known for her interpretations of more modern fare, but her excellent readings of Brahms may be the breakout that earns her the recognition she deserves. Her interpretation of the Brahms Symphony No. 1 on Naxos is reminiscent of the Mackerras performance released on Telarc about eight years ago. Finesse is everything when conducting the masters, and Alsop has it. The tempos have a clean, natural flow that allow the drama of the piece to have real impact without caramelizing it. The orchestra plays skillfully, and there are some brilliant solos, including a gorgeous flute passage shortly into the fourth movement.