These first releases in the LSO's own LSO Live label will be valuable
souvenirs for people who attended the concerts in September and October '99
at the orchestra's home, The Barbican Centre. No. 8 was also broadcast on
Classic FM. They are world-wide favourites in the 'canon' of masterpieces,
but are not works which I hear frequently nowadays, so both were encountered
again with fresh ears, in the context of covering concerts in the Davis/Berlioz
series for
Seen&Heard [see review of
The Childhood of
Christ].
My warm feelings towards Colin Davis's way with the 8th were endorsed
after renewing fond memories of the New World. symphony in the other
CD. He encompasses easily relaxation and tension, a singing line for Dvorak's
inimitable outpouring of melody, a light step for the dance episodes, and
an overall generous, full orchestral sound enhanced by microphone placement
that puts you into a good seat, and this recognisably at the Barbican (too
close miking can render distinctive auditoria anonymous in many CDs). Sir
Colin conceals the art which he brings to his ripe interpretations. He always
appears to work with his players, not driving them dictatorially, so that
underlying pulse and phrasing are naturally and subtly moulded.
I found Davis's accounts of both symphonies engrossing and fully satisfying.
Certainly there will be other more dramatic recordings and, to niggle, I
could say that I might have welcomed a fruitier cor anglais in the
New World's largo. Perhaps a specialist colleague from the Dvorak
Society may undertake a comparative review to place these newcomers against
the competition?
Instead, I would venture a few comments on the presentation. 'Symphony No
8' (without Opus No. or key signature supplied) could be a little ambiguous
for older concert-goers? They were brought up to know the G major symphony
Op. 88 (1889) as No. 4, and the most popular of all, Op. 95 From the New
World, as No. 5. The liner notes emphasise the permanent place of these
symphonies in the LSO's repertoire and important conductors who had presented
them. Possibly there was an assumption by the marketing advisers that purchasers
would be likely to know this music so well - maybe having books on Dvorak
on their shelves - as to need no detailed introduction to such favourites?
Some of those who were present at the concerts during last autumn may have
bought, and retained, the LSO's illustrated programmes with notes until the
CDs appeared (though many audience members cannot afford that expenditure).
It is gratifying that the CD inserts cite the Dvorak Society's pages
in Music on the Web, but a quick look at their web pages did not suffice
to render recourse to New Grove unnecessary. It is a laudable aim to keep
the pricing of LSO Live releases affordable, and paper publication can become
disproportionately costly.
But perhaps thought might be given to the possibility of providing fuller
background information in the future, either as a CD-ROM addition (as with
BBC Music Magazine cover CDs) or by posting the relevant programme notes
used for the concerts on the LSO's website? That innovation would of course
be invaluable also for home listeners to LSO concerts broadcast from The
Barbican.
The new year and century has thrust us even more firmly into the information
age, and Seen&Heard will continue
to nudge and urge for better communication of background information for
music lovers, whether it be texts of vocal music in live performances or
fully informative notes with CDs. Enforcing copyright restrictions may prove
counter-productive during a period when classical music will continue to
survive under threat; they may need to be applied with sensitive reconsideration
and flexibility for the public good.
Reviewer
Peter Grahame Woolf
LSO cond.
Sir Colin Davis 
