Harncourt Dvorak Stabat

This is a fine Testament release taken from the archives of Netherlands Radio and enshrines some magnificent Barbirolli performances in somewhat opaque sound. The Satie Gymnopedie's have a delicate and loving sound that reveal Sir John's deep and intrinsic love for the miniaturistic charm of these enchanting pieces. Britten's 'Sinfonia da Requiem' was another Barbirolli speciality and this is one of many recordings available. However it is intriguing to observe the special attention and alertness that the Concertgebouw players impart to the music that takes on an added grandeur. However it is the Dvořák Seventh that is the real highlight of the disc as it is a version to die for! Sir John handles the music with real imagery and heart-on-sleeve emotion that almost rivals Kertész and Sejna, my other preferred versions in this landmark work.

Dvorák’s Violin Concerto has been undergoing a renaissance of sorts on disc, one that it entirely deserves. Its critics (starting with Joachim and Brahms) dismissed it for not adopting the usual sonata-form first movement structure, instead welding the truncated opening to the gorgeous slow movement. But really, how many violin concertos are there where you can really say that the best, most characterful and highly developed movement is the finale? And what could possibly be bad about that? Clearly Fischer and Suwanai understand where the music’s going: the performance gathers steam as it proceeds, and really cuts loose in that marvelous last movement. Suwani displays a characteristically polished technique and fine intonational ear (lending a lovely purity of utterance to the slow movement), but she’s not afraid to indulge in some “down and dirty” gypsy fiddling in the finale, or in the two Sarasate items that open the program.

When Antonin Dvorák learned to compose, he did it the old-fashioned way – by composing. Although he had written numerous shorter works earlier, the 20-year-old Bohemian bestowed his Opus 1 on a three-movement String Quintet in A minor for pairs of violins and violas plus cello in 1861. The next year, he turned out his Opus 2, a four-movement String Quartet in A major, and over the next 12 years, he wrote six more string quartets. Through them, the listener can follow Dvorák's progress from a talented amateur with an inexhaustible gift for melody and little feel for form to an almost-ready-for-the-big-time composer who'd learned to tighten his structures and control his gift for melody.

Antonin Dvorák's Piano Quartet No. 2 is one of the greatest chamber works of the 19th century (as are many of Dvorák's chamber compositions). Written in 1889 at the request of his publisher Simrock, it is a big, bold work filled with the Czech master's trademark melodic fecundity, harmonic richness, and rhythmic vitality. The first movement is a soaring, outdoor allegro with an assertively optimistic main theme accented by Czech contours and Dvorák's love of mixing major and minor modes. The Lento movement's wistful main theme is played with a perfect mixture of passion and poise by cellist Yo-Yo Ma. The music alternates between passages of drama and delicacy in this, one of Dvorák's finest slow movements in any medium. The Scherzo's stately waltz is contrasted by a lively, up-tempo Czech country dance. The finale is a high-stepping, high-spirited allegro with a strong rhythmic pulse that relaxes for the beautifully lyrical second subject.

Few other composers’ music enjoys such enormous popularity and is as frequently performed on stages worldwide and recorded as that of Antonín Dvořák. And it is the symphonic works that are connected with his name most often. The new Supraphon eight-disc box features several complete sets and encompasses Dvořák’s most significant symphonic pieces. Alongside the Symphonic Poems and Concert Overtures, Supraphon is releasing for the first time on CD Václav Neumann’s sensitively remastered 1972-74 analogue recordings of the complete symphonies (until now, only the digital recordings from the 1980s had been released on CD). Václav Neumann linked up to the Czech Philharmonic Orchestra’s bold Dvořák tradition in the wake of his illustrious predecessors Václav Talich and Karel Ančerl and developed it in sonic colourfulness and romantic sweep.

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”.

Oh, not another Dvořák Cello Concerto recording, you would be justified in asking. Well, yes and no. This is indeed a special one, but not only for the superb performance the German-Canadian cellist Johannes Moser gives with the Prague Philharmonia under Jakub Hrůša of this most popular of all cello concertos. What makes this disc practically indispensable is its inclusion of the less frequently heard Lalo concerto in the best account I have heard since Pierre Fournier recorded it many years ago with Jean Martinon and the Lamoureux Orchestra for DG.

Named after the legendary violinist Adolf Busch (1891-1952), this young trio has already established itself on the international scene as one of the most talented of the new generation. Under the aegis of Alpha Classics and the Queen Elisabeth Music Chapel, the group set itself a challenge: to record the complete chamber music with keyboard of Antonín Dvorák. They managed to complete this project in four years and four albums: two albums of the piano trios, one of the piano quartets and one of the quintets. They were joined where necessary by the violist Miguel da Silva (founder of the famous Quatuor Ysaÿe) and the violinist Maria Milstein.