Belohlavek, in a Gramophone interview last year (2/92), referred to his Czech orchestra's ''singing art of playing'' and its ''mellow sound'', whilst admitting that it lacked the necessary punch for Stravinsky. There wasn't much rhythmic kick in the most recent Dvorak Sixth from this orchestra, conducted by Pesek on Virgin Classics, and even less motivation. Belohlavek's is altogether more lively, and recorded with more colour and range. Still, it is Bohemia's woods, fields and wildlife, rather than energetic village green festivities, that linger in the memory here. Perhaps you shouldn't expect a Czech Philharmonic performance to 'go' or leap about excitedly in the manner of Kertesz's with the LSO; in these days of high adrenalin, high contrast and high definition, there's a lot to be said for a less assertive and vigorous approach, always artlessly sung, and for this orchestra's Old World timbres a Brahmsian fireside glow, for example, to the Symphony's first movement second subject on cellos and horns (beautifully eased in by Belohlavek). These horns, always more rounded in tone than their rasping counterparts in London (Kertesz) or Cleveland (Dohnanyi), bear an obvious family resemblance to the woodwind, not only in timbre, but also in the use of vibrato (again, that ''singing art of playing''). And the 'silver moon' flute is one of this disc's principal joys.
Chandos as ever guarantee a sepia-toned warmth throughout; there's more blend than separation of textures here, but a clearer sound than on their previous Dvorak Sixth from Jarvi, where too many of the notes were lost in the rush and reverberation. In the Symphony, Kubelik (DG, and like the Kertesz, only available as part of a six-disc set of the complete symphonies) has the Berlin Philharmonic for a richer coloration, more sustained singing lines and a weighty, emphatic energy; he also projects the drama of The Wild Dove with a little more relish, and closer microphones (DG, part of a two-disc set of the symphonic poems and overtures). Dohnanyi is the only recommendable single-disc competitor for the Symphony, with precision of ensemble, rhythmic articulation and balance of textures all in a class of their own, and all most certainly from the New World (his coupling is Janacek's Taras Bulba). Dohnanyi and Belohlavek are, in fact, not competitive, but complementary.'