After Membran’s good value Sibelius budget wallet-box (review)
I felt I had to cast my nets again in their direction. The impecunious
collector who can live with nil documentation apart from track-lists,
stingy tracking and a hotch-potch of provenances and ages of
recording will find lots to satisfy and surprise in this Smetana
set.
Talich’s wartime Má Vlast is pretty vividly recorded
sufficient to carry what is a truly passionate performance.
Delicacy and vivid detailing are lambently captured against
the discreet surface burble. One can for example feel the throbbing
noon-day passion in the opening of From Bohemia's Woods and
Fields. Composer-conductor Otakar Ostrčil turns in
a sparklingly delirious and charmingly captivating Bartered
Bride across discs 2 and 3. It’s packed with seductively
innocent folksy invention – try the disarming Duettino
from Act 3 (CD 3 tr. 5) as just one example. There are no weak
links in the singer complement. Fascinating to hear singers
from a generation earlier than which dominated the 1950s and
1960s Supraphons. The sound is very impressive for a recording
made nearly eight decades ago. While the Bartered Bride
stands in the operetta tradition – though the rustic wing of
the family – Dalibor (on CDs 4 and 5) pays homage to
the defiant line of nationalism espoused by Melartin in Finland
and Verdi in Italy. I see that the work was condemned for being
too Germanic and Wagnerian but I don’t hear it except somewhat
in Act II. Rather one catches occasional echoes of Má Vlast
and even of Grieg and Dvorák. As in Má Vlast the harp
also puts in a telling appearance more than once. The sound
quality from 1950 is commensurately improved on the 1933 Bartered
Bride though there is a halo of distortion around the orchestral
climaxes.
Moving onwards to the 1975 Triumphal Symphony we are
now into 1970s analogue and pretty decent stereo sound. It’s
not Smetana’s finest work but is worth a listen even if it is
more of an extended 41 minute suite than something with symphonic
moment. Its bombastic confidence is not helped by Membran’s
decision to present the whole work in one long track. Pity that
each movement was not made separately accessible. A curiosity
rather than a compelling discovery. Hakon Jarl is one
of Smetana’s tone poems which some of us will recall featuring
on a DG LP (2530 248 since reissued on DG Galleria 437254) conducted
by Kubelik who had also recorded them in 1943 (Supraphon
and reissued again in 2009). The conductor here is Alois Klima
whose recording of Josef Suk’s War Triptych on a Supraphon
LP (SUAST50476) has long merited issue on CD. Its one-time companions
on DG vinyl can be found on CD 7 along with some very rare works
that I do not recall encountering in any other form. First we
hear two of his finest tone poems outside Má Vlast: Richard
III works superbly well and certainly deserves to be counted
in the same gruff company as Tchaikovsky’s Hamlet. Wallenstein's
Camp works about as well as D’Indy’s tone poem on the same
subject. Frantisek Vajnar does his best but Smetana gives vent
to material that again teeters on the edge of bombast and repetition.
Then come three rarely heard marches - all pretty florid and
unsubtle. They’re fun but brace yourself for that Teutonic glint
and strutting swagger. I rather liked the two generically titled
orchestral overtures conducted by Hrncir and Krombholc. The
second of them – very brief - seems to pay dramatic and sometimes
super-heated homage to Schumann. The Prague Carnival recalls
the jollier festive moments in the Má Vlast cycle. It’s
a mercurial piece with a prominently cherry-cheery violin solo.
CDs 8 and 9 mix unassuming and even inconsequential sharply-despatched
low-key polkas and other dances for piano – lots of them – with
two orchestral morsels in the light Viennese manner and the
ardent Piano Trio in G minor. The Trio is in a single track
running to 27:44. It should have been one track per movement.
As for the performance values these are intensely lyrical. By
the time we get to the last disc we are used to the one-track-per-work
pattern. The 1997 recording of the Duo sings with as much piercing
emotion as the Trio. The date of the Talich Quartet’s From
My Life is not volunteered but the four players’ way with
this music is in neon, upfront and personal. The recording comes
complete with applause. This quartet together with the Mendelssohn
Octet was amongst the few chamber works that I favoured
when I first discovered classical music. It was good to make
its acquaintance afresh. Such a moving piece. The Panocha Quartet
steer the somewhat darker but no less poignant Second Quartet
through and around the same emotional shoals and reefs. The
audience makes its laryngeal presence felt between movements.
The only collection of its type in the catalogue. Dip in and
you are unlikely to be disappointed. An adventurer’s bargain.
Rob Barnett
Track-listing
CD 1 72:06
Má Vlast / My Fatherland
1. I. Wyschehrad / Vysehrad
2. II. Die Moldau / The Moldau / Vltava
3. III. Scharka / Sarka
4. IV. Aus Böhmens Hain und Flur / From Bohemia's Woods and
Fields
5. V. Tábor
6. VI. Blaník
Czech Philharmonic/Václav Talich
recorded in 1941
CD 2 78:18
Die verkaufte Braut / The Bartered Bride - Komische Oper in
3 Akten / Comic Opera in Three Acts - Complete Recording in
Czech
1. Ouvertüre / Overture
1. Akt / Act 1
1. Szene / Scene 1
2. Seht am Strauch die Knospen springen / Look, the shrubs,
buds do blossom
(Marie, Hans, Chor / chorus)
2. Szene / Scene 2
3. Rezitativ / recitative: Zum Tanze rufen sie mich heut' umsonst
/ A dance today?....a request in vain (Marie, Hans)
4. Arie / aria: Gern ja will ich dir vertrauen, gläubig
blicken auf zu dir / Ah my darling, we could grow together (Marie)
5. Duett / duet: Mit der Mutter sank zu Grabe / With the mother,
to the grave (Hans, Marie)
3. Szene / Scene 3
6. Terzett / trio: Alles ist so gut wie richtig / Everything's
as good as can be (Kezal, Kruschina, Kathinka)
7. Rezitativ / recitative: Freilich! Den Tobias Micha kannt'
ich als Kind schon / Of course! I knew Tobias Micha as a child
(Kruschina, Kathinka)
8. Terzett / trio: Gekommen wär' er mit mir wie gerne /
How dearly he would have liked to come with me (Kezal, Kathinka,
Kruschina)
4. Szene / Scene 4
9. Quartett / quartet: Seht, da kommt sie! / Look, she's coming!
(Marie, Kathinka, Kruschina, Kezal)
10. Rezitativ / recitative: Mit Hans bin ich vereint! / With
Hans I'm together (Marie, Kathinka, Kruschina, Kezal)
5. Szene / Scene 5
11. Tanz und Chor / Dance and chorus: Polka - Herz am Herzen
fühlt man schlagen / Heart next to heart, beating close together
2. Akt / Act 2
1. Szene / Scene 1
12. Wie schäumst du in den Gläsern / How you do foam,
in your glass (Chor / chorus, Hans, Kezal)
13. Tanz / Dance
2. Szene / Scene 2
14. Teuer Sohn / N...n...n...now, my dear (Wenzel)
3. Szene / Scene 3
15. Rezitativ / recitative: Seid der Verlobte ihr / Be her loved
one (Marie, Wenzel)
16. Duett / duet: Ich weiß euch einen lieben Schatz / I know
a darling just for you (Marie, Wenzel)
4. Szene / Scene 4
17. Duett / duet: Komm, mein Söhnchen / Come, my little son
(Hans, Kezal)
18. Rezitativ / recitative: Gieb die thörichte Liebschaft auf
/ Relent, this love's in vain (Kezal, Hans)
5. Szene / Scene 5
19. Rezitativ und Arie / recitative and aria: Armer Narr, glaubtest
du mich zu fangen?....Es muss gelingen! / Poor fool, did you
believe I could be caught.... Soon now, my dearest! (Hans)
6. Szene / Scene 6
20. Finale / finale: Nicht zu hitzig! / Don't get excited! (Kezal,
Chor / chorus, Hans, Kruschina)
Kruschina (Jan Konstantin, Bariton / baritone) - Kathinka (Marie
Pixová, Sopran / soprano) - Marie (Ada Nordenová, Sopran / soprano)
- Micha (Zdenek Otava, Bass / bass) - Agnes (Mata Krásonová,
Mezzosopran / mezzo soprano) - Wenzel (Jaroslav Gleich, Tenor
/ tenor) - Hans (Vladimír Toms, Tenor / tenor) - Kezal (Emil
Pollert, Bass / bass) - Springer (Karel HruŠka, Tenor
/ tenor) - Esmeralda (Otta Horáková) - Muff (Václav Marek, Tenor)
- Chor und Orchester der Nationaloper Prag / Choir and Orchestra
of Prague National Opera - Otakar Ostrčil, Dirigent / conductor
recorded in: 1933
CD 3 49:13
3. Akt / Act 3
1. Szene / Scene 1
1. O was mich betrübe! / Oh, how doubts fill me! (Wenzel)
2. Szene / Scene 2
2. Marsch der Komödianten / March of the Comedians: Dem nie
genug verehrten
Publikum / For the audience, never admired enough (Springer)
3. Tanz und Produktion der Komödianten / Dance and Production
of the Comedians
4. Rezitativ / recitative: Ei, ei, ei, wie reizend! / Well fancy
that, how delightful! (Wenzel, Esmeralda, Springer, Muff)
5. Duettino / duet: Alles geht am Schnürchen / Everything runs
like clockwork (Esmeralda, Springer)
3. Szene / Scene 3
6. Rezitativ / recitative: Ach, wie wird es mir ergehen? / Oh,
how will I fare? (Wenzel, Agnes, Micha)
4. Szene / Scene 4
7. Nein! Es ist erlogen! / No! That's a lie! (Marie, Kruschina,
Kathinka, Agnes, Micha, Wenzel)
5. Szene / Scene 5
8. Szene - Arie / Scene - aria: Endlich allein!...Wie fremd
und tot ist alles umher / How can I live.How strange and dead
is everything here (Marie)
6. Szene / Scene 6
9. So find' ich dich, Feinsliebchen / That's what I feel, my
sweetheart (Hans, Marie)
7. Szene / Scene 7
10. Rezitativ / recitative: He, Hans! Du möchtest wohl dein
Geld schon haben? / Hey Hans! You want your money back already?
(Kezal, Marie)
11. Terzett / trio: Gesegnet, wer liebt und auch vertraut! /
Blessed be, those who love and trust! (Hans, Marie, Kezal)
8. Szene / Scene 8
12. Finale und 9. Szene / finale and scene 9: Kommen wir gerne,
so kommen wir gleich / Enjoyment is ours?....the sooner the
better (Chor / chorus, Agnes, Kathinka, Kruschina, Hans, Marie,
Micha)
Kruschina (Jan Konstantin, Bariton / baritone) - Kathinka (Marie
Pixová, Sopran / soprano) - Marie (Ada Nordenová, Sopran / soprano)
- Micha (Zdenek Otava, Bass / bass) - Agnes (Mata Krásonová,
Mezzosopran / mezzo soprano) - Wenzel (Jaroslav Gleich, Tenor
/ tenor) - Hans (Vladimír Toms, Tenor / tenor) - Kezal (Emil
Pollert, Bass / bass) - Springer (Karel HruŠka, Tenor
/ tenor) - Esmeralda (Otta Horáková) - Muff (Václav Marek, Tenor)
Chor und Orchester der Nationaloper Prag/Choir and Orchestra
of Prague National Opera/Otakar Ostrčil
recorded in: 1933
CD 4 74:26
Dalibor - Oper in 3 Akten / Opera in Three Acts - Complete Recording
in Czech
1. Akt / Act 1
1. Szene / Scene 1
1. Heut hält der König selbst Gericht / Today the judgement
will be passed (Chor / chorus, Jutta)
2. Als eine kleine, hilflose arme Waise / An orphan, abandoned
(Jutta)
2. Szene / Scene 2
3. Marsch / March
4. Ihr, meine Treuen / You know by now how our kingdom fair
(König / King, Chor / chorus, Jutta)
3. Szene / Scene 3
5. Tritt näher, liebes Mädchen / Step forward, without
fear (König, Chor / chorus, Milada, Jutta)
6. Spät war es schon / The sun did set (Milada, Chor /
chorus, König / King, Jutta)
4. Szene / Scene 4
7. Da ist er schon! / Ah, what a sight (Milada, Chor / chorus,
Jutta, Dalibor, König / King)
8. Nicht werd' ich's leugnen / I won't deny it, lies are not
my province (Dalibor, Milada)
9. Dich aufzulehnen hast du dich erfrecht! / Committing crime
thou hast thus helped thyself (König / King, Dalibor, Milada,
Chor / chorus)
10. Nun Dalibor, empfange hier dein Urteil / Thus Dalibor, reads
judgement unanimous (Richter / Judge, Chor / chorus, Dalibor)
5. Szene / Scene 5
11. Erbarmen! / Here do you see me bending low (Milada, Richter
/ Judge, König / King, Chor / chorus)
6. Szene / Scene 6
12. Was hilft es? / What storm here in my bosom is raging (Milada,
Jutta)
2. Akt / Act 2
1. Szene / Scene 1
13. Ein rechter Soldat lebt immer im Krieg / Oh, yes, the gayest
is this our world (Chor / chorus, Jutta)
14. Da ist mein Liebster / By this gay song (Jutta, Veit)
15. Vernahmst du schon von Dalibor's Geschick? / Of Dalibor's
fate didst thou surely hear (Jutta, Veit, Chor / chorus)
16. Ein rechter Soldat lebt immer im Krieg / Oh, yes, the gayest
is this our world (Chor / chorus, Veit, Jutta)
Verwandlung / Transformation
2. Szene / Scene 2
17. Merke dir alles, was ich sagte / Here greatest vigilance
is needed (Budivoj, Benesch)
18. In den düsteren Mauern / Oh, how saddening is a jailer's
life (Benesch)
3. Szene / Scene 3
19. Fertig ist alles / Everything's ready (Milada, Benesch)
König / King (Václav Bednár, Bariton / baritone) - Dalibor (Beno
Blachut, Tenor / tenor) - Budivoj (Teodor Šrubar, Bariton
/ baritone) - Benesch u. Ein Richter / Benesch and a Judge (Karel
KalaŠ, Bass / bass) - Veit (Antonín Votava, Tenor / tenor)
- Milada (Marie Podvalová, Sopran / soprano) - Jutta (Štefa
Petrová, Sopran / soprano)
Chor und Orchester des Prager Nationaltheaters / Prague National
Theatre Chorus and Orchestra/Jaroslav Krombholc
recorded in 1950
CD 5 71:50
2. Akt / Act 2
4. Szene / Scene 4
1. Nimm auch die Fackel dort / Oh, goodness! (Milada, Benesch)
5. Szene / Scene 5
2. Wär es wahr? / Here is the violin (Milada, Benesch)
6. Szene / Scene 6
3. Verwandlung / Transformation
4. Verschwunden bist du / Was it he again? (Dalibor)
7. Szene / Scene 7
5. Nehmt dies Geschenk / Accept, I beg, this trifle from my
hand (Milada, Dalibor)
6. Dalibor, verzeiht mir / Dalibor, I beg your pardon (Milada,
Dalibor)
7. Oh, unnennbarer Zauber der Liebe / Oh, unspeakable charm
of love (Milada, Dalibor)
3. Akt / Act 3
1. Szene / Scene 1
8. Mein Herr und König! / Glorious King! (Budivoj, König / King,
Benesch, Chor / chorus)
9. Ihr seht mich, Herr / It will be near to forty years (Benesch)
2. Szene / Scene 2
10. Ihr seht, umsonst nicht rief ich euch / At this late hour
(König / King)
11. Des Königs würdig / Are you now ready? (Chor / chorus, König
/ King)
Verwandlung / Transformation
3. Szene / Scene 3
12. Was säum' ich noch? / It's the third night (Dalibor)
4. Szene / Scene 4
13. Wie, Ritter? / Oh, heaven! He shook off his chains (Budivoj,
Dalibor)
14. Nun denn, wohlan / Let it so be (Dalibor)
15. Marsch / March
Verwandlung / Transformation
5. Szene / Scene 5
16 Habt ihr noch kein Zeichen / No trace as yet of our convened
signal (Milada, Chor / chorus, Jutta, Veit)
6. Szene / Scene 6
17. Milada! / Milada! (Milada, Dalibor, Jutta)
7. Szene / Scene 7
18. Beendet ist der Kampf / Enemy troops (Budivoj, Chor / chorus,
Dalibor)
König / King (Václav Bednár, Bariton / baritone) - Dalibor (Beno
Blachut, Tenor / tenor) - Budivoj (Teodor Šrubar, Bariton
/ baritone) - Benesch u. Ein Richter / Benesch and a Judge (Karel
KalaŠ, Bass / bass) - Veit (Antonín Votava, Tenor / tenor)
- Milada (Marie Podvalová, Sopran / soprano) - Jutta (Štefa
Petrová, Sopran / soprano)
Chor und Orchester des Prager Nationaltheaters / Prague National
Theatre Chorus and Orchestra/Jaroslav Krombholc
recorded in: 1950
CD 6 59:21
1. Triumfálni symfonie (Triumph-Sinfonie E-Dur / Triumphal Symphony
in E major)
2. Hakon Jarl - Sinfonische Dichtung / Symphonic Poem
Czech Radio Symphony Orchestra of Prague
Josef Hrnčír (1), Alois Klíma (2)
recorded in 1975 (2), 1980 (1)
CD 7 60:46
1. Richard III - Sinfonische Dichtung / Symphonic Poem
2. ValdŠtýnův tábor, op. 14 (Wallensteins Lager /
Wallenstein's Camp) - Sinfonische Dichtung / Symphonic Poem
3. Pochod ke slavnostem Shakespearovým (Marsch zur Shakespeare-Feier
/ Shakespeare Festival March)
4. Pochod národni gardy (Nationalgardemarsch / March of the
National Guard)
5. Pochod studentské legie (Marsch der Prager Studenten-Legion
/ March of the Prague Students' Legion)
6. Slavostní predehra D-Dur (Ouvertüre D-Dur / Overture in D
major)
7. Slavostní predehra C-Dur (Fest-Ouvertüre C-Dur / Festive
Overture in C major)
8. Pražský karneval (Prager Karneval / Prague Carnival)
Czech Radio Symphony Orchestra of Prague
Dirigenten / conductors: Václav Smetáček (1) - FrantiŠek
Vajnar (2) - Petr Vronský (3, 5) - Josef Hrnčír (4, 6)
- Jaroslav Krombholc (7) - Rudolf VaŠata (8)
recorded in: 1973 (6), 1974 (1, 7), 1976 (8), 1983 (4), 1984
(2), 1999 (3, 5),
CD 8 55:34
Trois Polkas poétiques, op. 8 (Auszug) / Three Poetic Polkas,
op. 8 (excerpt)
1. Nr. 2 g-Moll / No. 2 in G minor
Magda Flemrová, piano
recorded in: 2001
2. Nr. 2 g-Moll / No. 2 in G minor
Karel KoŠárek, piano
recorded in: 2000
3. Capriccio a-Moll / Capriccio in A minor
Anastasiya Kozhusková, piano
recorded in: 2002
4. Polka a-Moll / Polka in A minor
Anna Máchová, piano
recorded in: 1998
5. Polka f-Moll / Polka in F minor
Zdenek Hnát, piano
recorded in: 1969
6. Polka fis-Moll / Polka in F sharp minor
7. Polka F-dur / Polka in F major
Mio Sakamoto, Klavier piano
recorded in: 2001
Trois Polkas de salon, op. 7 (Auszug) / Three Salon Polkas (excerpt)
8. Fis-Dur / in F sharp major
Anna Máchová, piano
recorded in: 1998
Skizzen, op. 5 (Auszug) / Sketches, op. 5 (excerpt)
9. Nr.1 Scherzo-Polka / No. 1 Scherzo Polka
FrantiŠek Rauch, piano
recorded in: 1973
Triumph-Sinfonie E-Dur (Auszug) / Triumphal Symphony in E major
(excerpt)
10. III. Scherzo
Student Orchestra of the Pardubice Conservatory,
recorded in: 1994
11. Komposition g-Moll / Composition in G minor
Jana Macharáčková, Hanus Barton, Ales Bárta, Jaromir Klepáč,
piano
recorded in 1998
12. Bettina-Polka / Bettina Polka
Jirí Hubička, piano
recorded in: 1978
13. Bettina-Polka / Bettina Polka
Czech Radio Symphony Orchestra of Prague/Josef Hrnčír
recorded in: 1969
CD 9 64:42
české tance II (Böhmische Tänze II (Auszüge) / Bohemian
Dances II (excerpts))
1. Nr. 1 Furiant / No. 1 Furiant
2. Nr. 2 Hühnchen / No. 2 The Little Hen
3. Nr. 5 Zwiebelchen / No. 5 The Little Onion
4. Nr. 10 Springtanz / No. 10 Hop Dance
Karel KoŠárek, piano (1, 2, 4) - Veronika Böhmová, piano
(3),
recorded in: 2000
5. české tance I (Böhmische Tänze I (Auszüge) / Bohemian
Dances I (excerpts))
Nr. 2 Polka a-Moll / No. 2 Polka in A minor - Nr. 3 F-Dur /
No. 3 in F major
české tance II (Böhmische Tänze II (Auszüge) / Bohemian
Dances II (excerpts))
Nr. 7 Ulan / No. 7 The Lancer - Nr. 8 Umschritt / No. 8 Folk
Dance - Nr. 1 Furiant / No. 1 Furiant
Ivan Moravec piano
recorded in: 1974
6. Piano Trio in G minor
Daniel Kallmünzer, piano - Pavla Francu, violin - Simon Kanka,
Cello / cello
recorded in: 2000
CD 10 62:23
1. Z domoviny (From the Homeland) Duo for Piano and Violin
Lucie Noveská, Violine / violin - Petr Novák, piano
recorded in: 1997
2. Smyčcový kvartet Nr. 1 „Z mého zivota“ (Aus meinem Leben/
String Quartet No. 1 in E minor “From My Life”
Talich Quartet
3. Smyčcový kvartet Nr. 2 (String Quartet No. 2 in D minor)
Panocha Quartet
recorded in: 1975
MEMBRAN 223513 [10 CDs: 667:00] 