This new disc from Onyx provides a cracking start to a new Prokofiev cycle from the Bournemouth Symphony Orchestra under their principal conductor, Kirill Karabits. Rather than playing safe by launching the cycle with the popular 'Classical' Symphony or the highly regarded Fifth, Karabits has chosen two of the lesser-known symphonies, the Third (based on music from Prokofiev's opera The Fiery Angel) and the Seventh (a work of often childlike simplicity). It is an enterprising coupling which pays off in performances that combine polish, clarity and expressive commitment.

The Third Symphony starts exceptionally boldly with a startling call to arms, but Karabits doesn't forego all the feeling in Prokofiev's tenor-register melodies and there's a palpable dramatic atmosphere which is entirely appropriate given the music's operatic origins. This work was first conducted by Pierre Monteux, a musician who – like Prokofiev – knew a thing or two about orchestral colour; so too does Karabits, bringing out the many contrasts and lending the sound an urgent edge. The Andante slow movement is meltingly reflective, while the quick-fire Scherzo is splendidly mercurial and mysterious, and the trio gorgeously languorous. The finale is imposing without ever becoming too heavy: conductor and orchestra clearly know how to achieve clarity even in the weightiest passages, so that the music makes proper impact without textures ever becoming clogged up. With biting brass, characterful woodwind and some searing string playing, this is a really fine performance which will hopefully win this Symphony many new admirers.

The Seventh Symphony provides a fascinating contrast, and the playing is similarly impressive, albeit with very different results. Karabits perfectly captures the wistfulness of the opening movement, the tongue-in-cheek playfulness of the Allegretto, and the easy-going tenderness of the Andante. The finale is a wonderfully light, witty and sparkling affair, taken at a swift but natural-sounding tempo, and played with a combination of flair and delicacy. Karabits opts for the original quiet, 'tick-tock' ending (a reminiscence of the firs movement, itself 'borrowed' from Rimsky-Korsakov's Golden Cockerel), but manages to have his cake and eat it by including the more upbeat revision as the briefest of encores, which is a nice touch.

The recording, made at the Lighthouse in Poole, is as natural in focus as one would expect from experienced balance engineer Mike Clements, and the booklet interview with Karabits sheds interesting light on both symphonies. This is an extremely promising start to what should be a fascinating cycle. - See more at: http://devel.europadisc.co.uk/classical/115220/Prokofiev_-_Symphonies_Vol.1.htm#sthash.1LcLNeAc.dpuf