Dvorák Symphony No 6
Mackerras on top form in repertoire he loves and understands
View record and artist detailsRecord and Artist Details
Composer or Director: Antonín Dvořák
Genre:
Orchestral
Label: Supraphon
Magazine Review Date: 10/2004
Media Format: CD or Download
Media Runtime: 71
Mastering:
Stereo
DDD
Catalogue Number: SU3771-2
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 6 |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Charles Mackerras, Conductor Czech Philharmonic Orchestra |
(The) Golden Spinning-Wheel |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Charles Mackerras, Conductor Czech Philharmonic Orchestra |
Author: Andrew Achenbach
Sir Charles Mackerras’s vibrant interpretation of this heavenly symphony easily holds its own in the most venerable company. Not only are the Czech Philharmonic at their articulate and spirited best, Mackerras directs the outer movements with a pliancy and keen sense of long-term proportion that put me in mind of his mentor Vaclav Talich as well as Witold Rowicki’s magnificent 1965 LSO account (formerly available on Philips Duo, 3/96 – nla). At the same time, he extracts every ounce of songful poetry from the sublime slow movement, while the Furiant cross-rhythms of the scherzo skip to the manner born. If the trio has not quite the seraphic wonder of Karel Sejna’s (Supraphon, 6/54 – sadly nla) or Rafael Kubelík’s live version, the performance as a whole generates a spine-tingling thrust and certainly merits a place alongside those distinguished comparative rivals listed above.
Well deserving its thunderous ovation, the symphony comes from two concerts in Prague just under a couple of years ago, whereas The Golden Spinning-Wheel is a studio recording from June 2001. A splendidly opulent and atmospheric reading it is, too, observant and affectionate, if without quite the narrative flair and expressive scope of Harnoncourt’s riveting Concertgebouw account.
All in all, a notable contribution to the Dvorák centenary commemorations.
Well deserving its thunderous ovation, the symphony comes from two concerts in Prague just under a couple of years ago, whereas The Golden Spinning-Wheel is a studio recording from June 2001. A splendidly opulent and atmospheric reading it is, too, observant and affectionate, if without quite the narrative flair and expressive scope of Harnoncourt’s riveting Concertgebouw account.
All in all, a notable contribution to the Dvorák centenary commemorations.
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