Antonín Dvořák (1841-1904)
Symphony No. 7 in D minor, Op. 70, B 141 (1885)
Scherzo capriccioso, Op. 66, B 131 (1883)
Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink
rec. 1981 (live, symphony), Herkulessaal, Munich
BR Klassik 900223 [50]
The late Bernard Haitink here conducts two Dvořák works with the BRSO in the Herkulessaal, Munich, back in 1981. He never became their chief conductor but did guest conduct the orchestra often over six decades in a most fruitful partnership. This single CD of Dvořák’s Scherzo capriccioso and Seventh Symphony forms part of the BR Klassik series of ‘outstanding and previously unreleased live recordings’. I notice that they were released earlier in October 2024 as part of the label’s Bernard Haitink Second Portrait Edition, a 9 CD box set 900720.
A prolific composer Dvořák consistently produced numerous high-quality works in a range of genres and his reputation spread rapidly, first in his homeland, then his international breakthrough came suddenly in 1878 with his first set of Slavonic Dances published in both piano four-hands and orchestrated versions. This set created a sensation and in the first year alone was played in many European countries and New York.
Dvořák wrote his Scherzo capriccio in 1883. Just a couple of weeks after its completion, the premiere was given by Adolf Čech conducting the National Theatre Orchestra in Prague. Haitink gives it a joyful and light-hearted quality that to me evokes a family night at a fun fair. A contrasting central section has a more earnest demeanour, both restless and quick to change. This character change is no surprise as Dvořák was experiencing difficulties and pressures in his private life, and his mother had died in 1882.
In 1884, while visiting England for the first time, Dvořák became an honorary member of the Philharmonic Society of London who invited him to write a new symphony. In response, Dvořák wrote his Seventh Symphony which was completed in March 1885. A major motivation for Dvořák was his patriotism, as he was drawn to the growing nationalist fervour for Czech independence. Only a few weeks after its completion, in April 1885 Dvořák conducted the Philharmonic in the premiere at St. James’s Hall, London receiving a most appreciative reaction from the audience. Originally published as the Second Symphony, it confirmed Dvořák’s status as a symphonic composer of distinction and some consider it his greatest. I recall reviewing a performance of the Seventh Symphony by the Hallé under Czech conductor Jiří Rožeň in 2022 at King George’s Hall, Blackburn; I hadn’t heard it in concert for several years and the outstanding Hallé performance reminded me just how marvellous this work is.
This is a score characterised by its heavy retrospection. Haitink doesn’t go in for wild extremes; it seems that matters of interpretation such as pacing and dynamic have been thought through with purpose and are well-judged. The BRSO is in outstanding form. The players respond admirably producing a performance by turns robust, dramatic and darkly foreboding, then unveiling a feeling of bucolic ease.
The first movement Allegro maestoso opens with stormy writing. Haitink and his players ensure that the main theme is infused with tense and restless energy and a sense of foreboding is never far away. By contrast, the recurring second theme, of gentle and soothing disposition, played by winds accompanied by strings, is quite lovely; the calls of birds and animals make the composer’s love of nature very evident.
The deaths of Dvořák’s mother and the eldest child had taken a heavy toll and the mournful Poco adagio movement seems to reflect his distress. Beginning with a chorale that reminds me of a bucolic landscape, the Bavarian players ensure that it has a beautiful yet serious tone with an undertow of melancholy. The dance-like Scherzo – Vivace is exhilarating, swirling along with nervy energy. Proud and nationalistic in character, in the Finale – Allegro the BRSO provide ardent playing of a turbulent spirit. Standing out is the transformation of despair into triumph at the conclusion.
Throughout Haitink’s account, the unified orchestral playing of the Bavarian players creates a wealth of orchestral colour. I must mention the glorious solo contributions by the wind principals. Both performances were recorded for radio broadcast a few days apart under studio conditions and the sound quality is first rate.
These are praiseworthy performances but there are numerous recordings of both works. My first choice of Seventh Symphony is the outstanding recording from Jiří Bělohlávek with the Czech Philharmonic Orchestra from 2012 in the Rudolfinum, Dvorák Hall, Prague, available in a 6 CD box set comprising the Complete Symphonies & Concertos on Decca. A rewarding, well established account of the Scherzo capriccioso is conducted by Christoph von Dohnányi with the Cleveland Orchestra on Decca, coupled with the Eighth Symphony.
Michael Cookson
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Previous review: Lee Denham (March 2025)
