Antonín Dvořák Symphony No. 5

This CD is a must-have for everyone who wants to gain an awareness of Czech music, its most frequently performed and most frequently recorded compositions.

This long-term edition of symphonies by Johannes Brahms and Antonín Dvořák, performed by the Bamberger Symphoniker led by their chief conductor Jakub Hrůša, springs from a wish to stimulate a deliberate, interiorized and unbiased listening experience. Associating these two Romantic geniuses, bound by a unique friendship, in one edition enables a new viewpoint. It immediately becomes apparent that the two last symphonies of Brahms and Dvořák have more than their key in common - yet this also illuminates their differences.

This disc, particularly well recorded in 1986, brings one of the best versions of the symphony coupled with an equally fine delivery of one of the finest for the late symphonic poems. Symphonic is the key word here as this symphony is the most non-nationalist symphony in the Dvorak canon and is without much doubt the most purely symphonic creation as well as being the most tautly argued and dramatic of the nine symphonies. Jarvi's style of conducting these symphonies is to take a straight view and play them very much as Dvorak wrote them. There are therefore no undue changes of tempi, either slowing down to underline climaxes or speeding up to create artificial excitement.

This disc, made in 1987, is one of the many outstanding discs made by Jarvi and his Scottish orchestra during a very productive and noticeably vibrant point in Jarvi's recording career. Jarvi turned this orchestra from a fairly moderate ensemble into a far finer group with increased tonal resources and power and with a 'live' sounding recorded sound that was special then and remains special today. There were many successes but three cycles stand out - the Prokofiev symphonies, the Rimsky Korsakov Suites and the Dvorak symphonies.

The 7th installment of the live concert series "Belle ame'', a project of the Spectrum Sound label and using sound sources provided by the French National Audiovisual Institute, is a 1959 concert performed by the Orchester National Radio de France, conducted by Constantin Silvestri. From the live performance in February, Dvořák's Symphony No. 9 "From the New World", Mozart's Piano Concerto No. 19 with Clara Haskil as soloist, Debussy's "Prelude to the Afternoon of a Faun", and Ravel This is "Bolero''.

Antonín Dvořák’s Symphony No. 9 is one of classical music’s all-time greatest hits. It was composed and premiered in New York in 1893, which is why – but not only why – it is known as the “New World Symphony.” On this recording, which also includes the first cycle of the equally popular Slavonic Dances, the Piano Duo Trenkner / Speidel once again demonstrates the great advantages and fascinating rhythmic verve offered by reductions for piano four hands. Trimmed of the comfortable and sumptuous sound of the large orchestra, Dvořák’s genial treatment of motives of Bohemian folk character shines in even greater glory.

Christoph von Dohnányi’s lean and athletic Dvorák Symphony No. 6 is at the opposite pole from the warm, romantic style typified by Karel Ancerl (type Q6828 in Search Reviews). However, both approaches are valid, as Dvorák’s great symphony is at once a heartfelt work with strong classical underpinnings. The combination of Dohnányi’s energetic direction and the Cleveland Orchestra’s exactingly precise playing makes for a crisp and vibrant rendition, highlighted by the sharp-pointed timpani (well captured by Decca’s engineers).

Antonín Dvorák's Stabat Mater, Op. 58, written in the aftermath of the deaths of three of his children, is a sober and powerful work, inexplicably neglected and unlike any other work of choral music from the 19th century. Perhaps most performances don't capture its full weight, but this live recording from the Bavarian Radio Symphony Orchestra under Mariss Jansons, does so. There are many deep pleasures here. The orchestra's choir is extraordinary: rich yet without a hint of wobble and utterly clear in its sense of the text. Jansons keeps things at a deliberate pace that lets the music breathe and the currents of personal experience rise to the surface. The soloists, none terribly well known, are fine in their individual numbers, but absolutely transcendent in ensembles, nowhere more so that in the sublime "Quando corpus morietur" finale (track 10); there are a couple of other strong recordings of this work, but it seems likely that no one has ever matched this conclusion. The live recording from the Herkulessaal in Munich is impressively transparent and faithful to the spontaneity of the event. A superb Dvorák release.

Libor Pešek, born in Prague, recorded this rich collection of works by Dvořák with two orchestras that are closely linked with his name: the Czech Philharmonic, a natural choice for this repertoire, and the Royal Liverpool Philharmonic. Pešek, who spent 11 years as Music Director in Liverpool, voiced his admiration for the British players’ “immense interest in Czech music”, their “dedication to the score” and their capacity for playing “in the Czech manner”.