Dvorak's Serenade for strings has been so often coupled with his similarly titled work for wind that when a group have no wind, as the Berne Camerata have not, then it is good to find them choosing a chamber work for a coupling; especially when, as with their choice of the String Sextet, this is the first CD recording of a work that, for all its quality, is never likely to become much recorded, simply because of the six solo instruments it requires.
Dvorak's choice of instruments is curious, for whereas one would expect to find a double-bass in the group, he scored it for two violas and two cellos—and the two violins, of course. This puts an extra onus on the cellos, for at one time or another they each have to provide the bass. On this recording both players (for the work is given just by six members of the Camerata) fulfil their responsibility most admirably. The recording engineer is equally aware of the problem and sees to it that the lines are well balanced. I did think at a first hearing that the first violin was under-recorded but soon found that that was easily remedied. The six players make a real chamber-music group, each being aware of what his fellows are doing and what his part in the ensemble should be at any moment: and each is an admirable player.
The work is a charmer, though Alec Robertson in his book on Dvorak in the Master Musicians series (Dent: 1974) has a reservation about the last movement, a set of variations, of which he writes: ''The variations have not the spontaneity of the earlier movements, and one or two of them sound 'worked'.'' I have tried but I cannot see to which he refers, though they certainly haven't the spontaneous flow which makes the later Symphonic Variations such a delight. But whatever the case, the present work is delectable and I recommend this CD for it alone.
The Serenade comes up against formidable rivalry and the performance does not equal Marriner's ASMF version on Philips, which has all the best qualities one has come to associate with this group.
Thomas Furi, who directs this latest performance (as well as leading the smaller group in the Sextet), takes a leisurely view of the first movement, though not so leisurely as Schneider (ASV) on his recording with the Chamber Orchestra of Europe. If ind Furi's tempo an excellent in-between one and I enjoy an easygoing approach to this movement: but it is in the Larghetto that the difference is more obvious and I think Schneider's account too slow for the music. In the fast movements Furi is excellent, notably in the dashing finale.
On the whole I would judge this recent version the most to my taste after Marriner; and the smaller body of strings (the Camerata have only eight firsts) sounds full and well-nourished in this version. But the presence of the Sextet will commend this CD to many readers and I much recommend it, since those who want a version of the Serenade will not be disappointed.'