I make no such qualifications here. This is a great Images. Markl and the orchestra seem more assured, perhaps because Images is less of an impressionist work in overall effect than Daphnis and thus better suited to their approach. This is especially the case with ‘Iberia’. Markl’s reading is vibrant, robust, and yet lean in some ways, if you can imagine such a combination. He wields a strong grip, but the effect is concentration and intensity, not rigidity, and the orchestra pours out color at every turn. The brass are clear, bracing, and avoid edginess. I has powerful accents, tight rhythm with good spring. The tempo is just on the slow side, but it sounds right and allows all kinds of detail to emerge. Everything is stylish, with good inner energy. The music dances, and I don’t mind the slight loss of languid atmosphere. II is careful and not all that steamy, but it is still atmospheric and colorful, with clear definition and solid balance. I think of it as quietly vibrant and a refreshingly different view. ‘Morning of the Festive Day’ really sounds like a Spanish village waking up. I especially like the prominent chimes and taut festivity.

As for the other Images, ‘Gigues’ begins hushed but full of ripe presence, with fine rhythmic lift. The orchestra sounds alive and not small at all. Woodwinds predominate, and the percussion is lively and shimmering. The music dances; the skipping rhythm is suitably prominent. The slow section is dramatic and atmospheric. Only in ‘Rondes de Printemps’ do I find Markl too emphatic and direct, but it is a fine conclusion to a terrific Images, nonetheless.

The shorter entries are piano pieces orchestrated by Debussy himself or Ravel. ‘Sarabande’, the second movement from Pour le Piano (Ravel), sounds like a haunting pavane; the trumpet entrance is especially effective. ‘Danse’ (Ravel) is light, deft, and spirited in the fast sections and nicely lyrical and occasionally warm in the slower moments. ‘Marche Ecossaise’ manages to sound both modal and reflective while maintaining the color and energy (certainly in the vigorous, yet well controlled brassy ending) that has characterized the entire program. ‘Le Plus que Lente’ (slower than slow) is a waltz parody, exaggeratedly elegant and patrician, played with just the right touch of dreamlike schmaltz.

The recording is close, clear, and vivid, with quick articulations and good definition and instrumental placement. Textures are just right and not too lean. If I mustmore....

Review By David Hurwitz,ClassicsToday.com,May 2010

Jun Märkl has the orchestra responding with unflagging enthusiasm. Nor is he at all insensitive in Les parfums de las nuit. The couplings, as with other discs in this series, consist of shorter works and orchestrations by other hands, and they also are very well done. So if the repertoire selection appeals to you, then this well-recorded issue merits a place in your collection.