Firstly, the 'New World'. I once heard Mácal 
          conduct this piece with the Hallé Orchestra in Manchester's Free 
          Trade Hall. He breathed new life into this most unpredictable of British 
          orchestras, who responded to his evident care and love for Dvořák 
          with elan. It would appear that the LPO were just as enthusiastic in 
          this 1982 recording, and despite the very obvious attractions of Mácal's 
          'Symphonic Variations', it is the 'New World' that receives a white-hot 
          performance and can comfortably sit with the very best. 
        
 
        
Mácal and his orchestra evidently put much preparation 
          into this recording: the amount of audible detail is astonishing, further 
          elucidation coming from the clear yet warm recording (via the classic 
          team of producer Martin Compton and engineer 'Mr Bear'). 
        
 
        
The first movement comes complete with exposition repeat 
          so that the symphony appears in proportion. An undercurrent of dramatic 
          tension underpins the entire movement, successfully contextualizing 
          the lyrical passages. Similarly, the famous second movement, with its 
          eloquent cor anglais solo, is expressive without being over-indulgent. 
          The entry of the brass with their quiet closing chords is a moment of 
          magic. 
        
 
        
The attack and spirit of the third movement acts as 
          a reminder of how good the LPO can be. The gritty recording supports 
          the energy of the Scherzo, and the Trio features some characterful wind 
          playing, but it is the finale that really impresses. It acts as a true 
          climax to the work: the LPO plays determinedly (the horn solo towards 
          the end is particularly worthy of note). This is a memorable reading. 
        
 
        
The earlier 'Symphonic 
          Variations' (dating from 1877 and premiered in that year) does not quite 
          match the Symphony in quality, but is nevertheless a fine account. The 
          theme (Dvořák's own, from a part-song for male voice chorus) 
          is presented as tranquil but nevertheless pregnant with possibilities. 
          The LPO capture the shifting emotions of this work well (including a 
          jubilant Scherzo and an affecting Valse), closing with a Finale full 
          of energy and brio. Perhaps Mackerras on EMI (CDEMX2216, coupled with 
          the Eighth Symphony) pips this to the post as a recommendation, but 
          as a coupling this disc remains a triumph. 
        
 
        
Colin Clarke