Antonín DVORÁK
(1841-1904)
Symphony No. 1 in C minor "The Bells of Zlonice"
The Wood Dove Op. 110
"Carnival" Overture Op. 92
Berliner Philharmoniker
Symphonieorchester des Bayerischen Rundfunks
conductor: Rafael Kubelik
DEUTSCHE GRAMMOPHON Galleria
469 550-2 [ADD 75:39]
Crotchet
AmazonUK
AmazonUS
Reproduced in the booklet notes of this disc is an enlightening essay by
Rafael Kubelik outlining his own thoughts on the Symphony No. 1, or more
to the point on its inadequacies. He points out that when he was first asked
to record Dvorák's complete symphonic output he had serious doubts
as to whether the work should be committed to disc at all. The reasons for
his concern were twofold. Firstly, the composer did not acknowledge the work
during his lifetime, discarding it in his typically self-critical way, as
juvenilia. Secondly, there are numerous technical inconsistencies, both
harmonically and structurally, which have never been cleared up due to the
lack of a revised score by the composer (as opposed to the following three
symphonies which, although unpublished during the composer's lifetime, were
revised in preparation for publication). He goes as far as to suggest that
the symphony should have remained unnumbered.
In spite of this there are aspects of Dvorák's mature style clearly
on display, both in terms of his natural melodic gifts and, as Kubelik again
points out, in his tendency to combine symphonic structure with musical scene
painting usually influenced by Czech folk culture. Whatever your viewpoint
on the shortcomings of the work (and it has to be acknowledged that they
do exist) there are few such concerns with the performance. Kubelik stamps
his authority on it from the very opening, as the bold declaration from the
horns gives way to Dvorák's representation of the "Bells of Zlonice"
themselves. The affecting Adagio molto which follows has some touching
moments although could perhaps be a little warmer in its passion at times.
It is the Allegretto third movement that in many ways marks the whole
performance, full of character with Kubelik and his Berlin players really
tuned in to the rhythmic nuances of the attractive folk melody. The
Allegretto finale, perhaps lacks the cohesion of some the later
symphonies, but Kubelik builds the momentum to a suitably impressive conclusion.
It is The Wood Dove, which for this listener at least, is the highlight
of the disc. Written in 1896 as one of a group of four symphonic poems (the
others being The Water Goblin, The Noonday Witch and The
Golden Spinning Wheel) this is a performance brimming over with atmosphere
as it tells the tale, based on Czech legend, of infatuation and murder in
a rural village. Kubelik gets inside the character of the work immediately,
as the opening mysterious funeral march, from which all of the subsequent
thematic material emanates, weaves its spell. He conjures some magical playing
from his forces who clearly respond with playing of vivid effect, the rustic
wedding festivities of the central section being particularly joyous. So
much of this music pre-empts Janácek and it is interesting to note
that it was Janácek who conducted the premiere of the work in 1898.
A blistering performance of the Carnival Overture concludes the disc,
bristling with life and energy, and taken at pretty much breakneck speed.
True, the ensemble does lose a little tautness in places, but it more than
makes up for this in spirit and sheer joie de vivre.
The remastering of the original recordings, which date from 1973 to 1976,
has been reasonably successful although tending to lack a little warmth and
therefore sounding somewhat clinical at times. Nevertheless, at mid-price,
this is a genuinely worthwhile issue, which represents good value for money
for the performance of The Wood Dove alone.
Christopher Thomas
