Antonín DVOŘÁK (1841-1904)
Symphony No. 7 in D minor, Op. 70 (1885) [37:06]
Symphony No. 8 in G major, Op. 88* (1899) [36:51]
Philharmonia Orchestra/Sir Charles Mackerras
rec. live, 9 October 2008; *12 October 2008, Southbank Centre’s Royal
Festival Hall, London. DDD
SIGNUM CLASSICS SIGCD183 [73:52]
In the last few years a significant number of orchestras have established their
own labels on which to issue performances, usually taken from live concerts.
In London both the London Symphony Orchestra and the London Philharmonic come
to mind. Another of the city’s orchestras, the Philharmonia, seems to
be following a slightly different path in forming what is now a well-established
and successful partnership with Signum Records. We’ve already had some
fine recordings of works by Brahms, Schubert and other great composers and
whilst it might be argued that the repertoire to date has been rather more
confined to the mainstream than some of the releases on the aforementioned
LSO and LPO labels there’s no denying the high artistic values of the
Philharmonia/Signum releases. Now they turn to Czech repertoire under the leadership
of arguably the finest non-Czech conductor of that country’s music.
The booklet reminds us that Sir Charles Mackerras is now eighty-five years
old - and was eighty-three when these performances were given. Can that really
be true? Many conductors have gained in wisdom as they’ve grown older
- and I’m sure that applies to Sir Charles also - but by no means all
have retained their vitality in the way that he most evidently has. These fresh
and vital performances defy the years.
As well as the vitality what impresses as much in these readings is how natural
and effortless they sound. It might be argued that these are standard repertoire
pieces; that an orchestra such as the Philharmonia can play in its sleep. But
these symphonies, familiar though they may be, most definitely don’t
play themselves. These performances have surely been prepared scrupulously
yet not so strictly as to squeeze the freshness out of them.
In both these symphonies the orchestra sound to be enjoying themselves. The
winning third movement of the Eighth, for example, flows delightfully and with
charm - and with a delicious but not overdone amount of portamento. The trio
has a lovely, natural swing to it. Earlier in the same symphony - my personal
favourite among the Dvořák canon - the slow movement is warmly
sung, the phrasing supple and affectionate. The trumpet fanfare that introduces
the finale is a true, proud call to attention. The main body of the movement,
memorably labelled a set of “footloose variations” by the late
Michael Steinberg, is splendidly performed here, with Mackerras and his players
alive to all the changes of emphasis and mood in this most engaging movement.
The gently nostalgic pages near the end are lyrically phrased but then Mackerras
whips up a red-blooded coda which understandably draws an ovation from the
otherwise commendably quiet audience.
The Seventh, considered by many eminent judges to be the composer’s symphonic
masterpiece, is darker-hued with the influence of Brahms more evident. Again,
Mackerras is a most convincing guide to the symphony. He establishes a mood
of suspense at the very start and then ensures that the energy is properly
channelled and released during the course of the first movement, He relaxes
nicely for the more lyrical episodes but never lets the tension and intensity
drop.
The slow movement begins disarmingly enough, though at times during its course
Dvořák becomes more searching. Mackerras brings out all the lyricism
in this gloriously-scored music but doesn’t short-change the moments
when the skies darken. The very Czech cross-rhythms of the third movement are
inflected beautifully - the music is always kept on its toes. The finale contains
the most dramatic music in the symphony and Mackerras’s conducting is
full of fire and momentum though, as ever, he relaxes perfectly when the score
calls for it.
Throughout these performances the Philharmonia produce top-notch playing in
all departments. Some of the woodwind playing is a particular delight but it
would be invidious to single out sections or players when the corporate response
is so keen and excellent. Most of these players will have played these scores
umpteen times in their careers but there’s no sense of routine. The recorded
sound for both performances is very clear and pleasing.
Sir Charles Mackerras has given us some splendid records during his long career,
not least in the last few years - one thinks of his wonderful Beethoven cycle
for Hyperion, for instance (see review)
- and here he’s on top form again. There are countless versions of both
of these great symphonies in the catalogue and a good number of them couple
the two works. However, these spirited, authoritative and, above all, highly
enjoyable readings are a match for the finest in the field.
John Quinn