With this live recording of the Ninth, Marcus Bosch is close to concluding his Dvořák cycle for Coviello. As in previous recordings with the Nuremberg State Philharmonic, Bosch’s Dvořák is brusque, especially in the bucolic moments. He pulls back for teasing rubatos in the first movement (which includes the exposition repeat), but presses on fiercely during its closing pages. The Molto vivace has a strong folksy feel and the finale is bracing.

Whether the Largo explores Native American melodies or is merely Dvořák pining for his Bohemian homeland, it deserves a less matter-of-fact performance than it receives here – the famous cor anglais solo sounds under-nourished and muted horns lack mystery, although the clarinets glow with a mulled spice warmth. Bosch keeps it on the move – just as Kirill Kondrashin does in his superb Vienna recording – although the fermatas towards the end (9'15") are exaggerated. Coviello’s sound is resonant, but timpani are muffled and the horns don’t enjoy much prominence. Nothing to challenge Kondrashin and Kubelík here as my ‘go to’ Ninths.

Far too quickly after the symphony’s final, fading note, The Noon Witch steals in. This symphonic poem tells the tale of a witch summoned to deal with a naughty boy. The terror her appearance induces causes the child’s mother to accidentally smother her son, the father’s lament closing the work. The Nuremburg woodwinds emit convincing cackles and Bosch shapes the climax with plenty of muscle, but Dvořák’s work is a bit of a watercolour portrait. At 56 minutes, the disc is short measure.