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Antonin DVORÁK
(1841-1904)
Symphonies - No. 1 in C minor, B9, 'The Bells of Zlonice'; No. 2 in B flat, B12; No. 3 in E flat, B34.
London Symphony Orchestra/István Kertész.
Double Decca 466 739-2 [ADD] [144'38]
Crotchet
 Amazon UK  Midprice

This has to be one of the true bargains of the century so far. Since they came out on Decca SXL's in 1967 (SXL6288-90), these performances have been persuading the record buying public that the early symphonies of Dvorák are worthy of serious consideration. In this present incarnation on two CDs, nearly two and a half hours of sustained advocacy of the highest order is on offer for a ludicrously small outlay.

Throughout, the recorded sound and in particular the balance are exemplary (all three were produced by Ray Minshull, joined by John Mordler in the Third, and Kenneth Wilkinson was the engineer).

The First Symphony (once thought lost) takes its subtitle from the tolling of the bells in the town where Dvorák decided to pursue a career in music, and a musical motif derived from this recurs throughout the symphony. The LSO seem to truly believe in the music, and the whole performance breathes freshness from first note to last. As in all the performances in this set, tempi are perfectly judged and solo contributions are a delight (for example, try the beautifully phrased oboe solo just before 5 minutes into the slow movement).

One of my few criticisms would be that the finale of the Second Symphony sags, but there are so many memorable moments elsewhere that this is a minor glitch. The attention to detail is nothing short of miraculous (the string articulation is a dream) and, not for the first time in this set, there is joy to be found by the bucket load - the ecstatic whooping of the horns in the first movement is but one case in point.

The Third Symphony shows the influence of Wagner (most notably the Wagner of Lohengrin in the processional music of the slow movement) and Liszt, a necessary part of Dvorák finding his own mature compositional voice. But (and it's a big but) this symphony, too, has stature in its own right and Kertész realises this fully. He has the knack of giving inevitable direction to whole passages that in other hands would appear superfluous.

This set is not merely recommended. It is indispensable. Even though it dates form the late sixties, the sound still gives many recordings of today a run for their money. I need to borrow extra stars for my rating - I haven't got enough.

Reviewer

Colin Clarke

Performance

Recording



Reviewer

Colin Clarke

Performance

Recording


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