Antonin Dvořák (1841-1904)
Symphony No 7 in D minor, Op 70 (1885)
Symphony No 8 in G major, Op 88 (1889-90)
Symphony No 9 in E minor, Op 95 ‘From the New World’ (1893)
‘Nature, Love and Life’ (1891-92)
In Nature’s Realm – Concert Overture, Op 91
Carnival – Concert Overture, Op 92
Othello – Concert Overture, Op 93
Czech Philharmonic/Semyon Bychkov
rec. 2023, Dvořák Hall, Rudolfinum, Prague, Czechia
Pentatone PTC 5187 216 [2 CDs: 158]
Semyon Bychkov became Music Director and Chief Conductor of the Czech Philharmonic in 2018 and is currently contracted through to 2028 – so clearly it is a mutually successful artistic relationship. It has produced several discs and surveys of essentially core repertoire: the Tchaikovsky symphonies and piano concerti for Decca and an ongoing Mahler cycle for Pentatone. In the meantime, that quintessential Czech work Ma Vlast has received yet another recording by this famous orchestra under his baton. I have not heard any of their previous recorded collaborations before this two disc survey of the three ‘great’ Dvořák symphonies. What the front cover fails to mention is the inclusion of an apt and very generous coupling on the second disc – the three concert overtures that have a quasi-symphonic unity themselves based on the concept of ‘Nature, Life and Love’. The liner also fails to clarify if these are studio or live recordings. If the latter then they are very well played and engineered with possibly just a couple of tiny moment of ensemble slips and perhaps a ghostly cough to suggest that provenance.
Bychkov’s stature as a conductor is well-established, and with different orchestras in the past I have enjoyed the individuality and personality he has brought to his recordings. So it was with a considerable sense of expectation that I was hoping to hear that insight coupled with the Czech Phil’s glorious sound in this wonderful music. By that very high bar of hope, this is something of a disappointment. Simply because, for all the excellence and skill of the playing, the sophistication of the engineering and the good taste of the interpretations, these are very centrist interpretations. Of course, the Czech PO will be extremely comfortable playing this music – I just don’t want it to sound quite so comfortable. With one exception – more about that shortly – Bychkov does not surprise, let alone shock once. Tempi are without exception, ‘normal’. Ensemble is tight, but without the snap and sinew that reveals Dvořák’s folk heritage. The drama of Symphony No 7 in D minor is curiously lacking. One of my very favourite cycles of these symphonies was Vaclav Neumann’s first (analogue) survey with this orchestra – notable for being Supraphon’s first single-conductor cycle of this composer. There is a tension and energy there that is quite lacking in the same conductor’s early digital remake. Likewise the Bělohlávek cycle with this same orchestra – already a decade old – favours a similar benevolent approach. The benefits are a blend and control of the collective orchestral sound, which prevents the brass from dominating in the way it can in other cycles. Conversely, Dvořák wrote very active brass parts – especially the horns and trombones and too often here they register little. One striking feature is how little like the Czech PO of yesteryear this orchestra now sounds. Perhaps the horns still have the rounded warmth of yore, but the woodwind playing – beautifully executed though it is – can no longer be immediately identified as of Bohemian origin. I am wary of extolling older recordings where “character” becomes a euphemism for flaws, but it is hard not to miss the individuality – for good or ill – present in many earlier performances.
Of the three symphonies, No 8 in G major, Op 88 works best given this lithe and lyrical approach. Bychkov steers a path which acknowledges the ‘traditional’ unwritten ritardandi into second subjects – a little at least – as well as the portamenti that registered in older recordings (again in moderation) but without much interpretational intervention in its place. The one exception is the third movement of Symphony No 8 – Allegretto Grazioso [misspelt in the liner] which is taken at an unusually slow tempo. The result is as effective as it was unexpected – a kind of ‘valse triste’ quite beautifully played and phrased with sophistication and affection. If only the rest of the interpretations here reached such elevated levels of insight. Instead, there is a faceless efficiency that is as impressive technically as it is under-engaging emotionally. For a conductor of Bychkov’s experience and ability, I find this interpretative anonymity surprising.
Recently I reviewed another performance of Symphony No 9 in E minor, Op 95 ‘From the New World’ here with almost exactly the same response; “well-played but…”. As one of the most universally known pieces of “Classical Music”, it is easy to forget what a genuine masterpiece this work is – not just overflowing with melodic richness and musical events, but formally and thematically sophisticated and rewarding. The technical quality of both the playing and recording here results in some lovely passages; the famous sequence that frames the second movement Largo is a model of perfect balance and chordal voicing, but the following “going home” theme on the cor anglais is beautifully but plainly played. Considerable kudos to the Pentatone engineers who have tamed the resonance of the Dvořák Hall in the Rudolfinum. Bychkov ensures that the brass rarely dominate orchestral tuttis, which ensures that much inner detail of these superb scores can be heard. But then at crucial climaxes such as the final ‘crisis’ in the New World where the brass hurl their conflicting themes together, this all but fails to register as any kind of climactic/cathartic point.
Disc one of this release couples symphonies 7 and 8 – a generous if not that rare a combination since the advent of the Compact Disc. As previously mentioned, disc two brings together an exceptionally generous [82:01] coupling of the New World with the concert overture trilogy. This is such an intelligent piece of programming. By opus numbers, the overtures are separated from the symphony by just Op 94 – the Rondo for Cello and Orchestra (or piano). By this point in his career Dvořák was a complete master of his art and these overtures seem like a self-imposed test of just how creatively he could handle the same musical material to produce significantly different expressive goals. So while each work can stand triumphantly alone, heard together as here they form a masterclass in thematic transformation, whereas the near-adjacent symphony is one in thematic development and juxtaposition. None of the overtures is rare on disc, although probably only the second – Carnival – maintains a toe-hold in the concert hall. But then what overture does these days? Overall, these works play more to the strengths of Bychkov’s style of interpretation, with the opening bucolic In Nature’s Realm particularly suited to his relaxed and lyrical style. As with the symphonies, nothing here stands out interpretatively, for good or ill. The brass is again held firmly in control, so the fanfaring trumpet figurations or the closing powerful trombone chords in Carnival do not thrill as they can. But again the menacing quiet chords that open Othello are beautifully balanced and warmly resonant. Modern performances of this trilogy of overtures are relatively rare – especially when brought together as here. Old-School idiomatic versions from Ančerl, Neumann or Jaroslav Krombholc compel in a way that seems lost today. More recently (2016) Pentatone recorded Jakub Hrůša and the Prague Philharmonia in DSD multichannel in a programme that included these works – a disc I have not heard.
On this disc, Pentatone have stuck with standard red-book stereo CD, but as mentioned the engineering is very good. The liner benefits greatly from an intelligent and useful English-only note by Czech music expert Jan Smaczny. Gluing the booklet onto the right-hand flap of the trifold digipak makes for rather clumsy reading of it. I can imagine that this centrist, technically very accomplished survey of the late symphonies will give considerable pleasure to some listeners who find the likes of Ančerl – to quote a review I saw recently – “po-faced and overdriven” (qualities I simply do not recognise). The fact that orchestral standards are globally at an astonishing level of competence is to be celebrated – but if this has come at the price of individuality and collective personality, perhaps less so.
Nick Barnard
Buying this recording via a link below generates revenue for MWI and helps us keep free access to the site
