Istvam Kertesz

This recording provides a prime example of why the late Istvan Kertesz has been one of those conductors whose interpretations of works by Brahms and Dvorak have consistently given me great pleasure. At various places in these serenades, he displays an extroverted, outdoorsy quality that allows melodies to soar. In addition, while listening recently to Sir Charles Mackerras' versions of these scores, where that conductor uses a down-sized orchestra, I found myself preferring Kertesz's suppleness and color, the latter enhanced obviously by the use of a somewhat larger orchestra.

This recording provides a prime example of why the late Istvan Kertesz has been one of those conductors whose interpretations of works by Brahms and Dvorak have consistently given me great pleasure. At various places in these serenades, he displays an extroverted, outdoorsy quality that allows melodies to soar. In addition, while listening recently to Sir Charles Mackerras' versions of these scores, where that conductor uses a down-sized orchestra, I found myself preferring Kertesz's suppleness and color, the latter enhanced obviously by the use of a somewhat larger orchestra.

I do not want to start too many hares running, but I suggest that if a newcomer to opera listened to La Traviata and then Il Trovatore, one after another, he or she would quickly identify the composer as one, no matter the different moods and key register. If the same listener did the same with Die Zauberflöte and La Clemenza di Tito I doubt that the listener would identify the works as being by the same composer.