It is surprising how few records there have been which re-create the triptych of the three concert overtures that Dvorak wrote together in 1891-2, linked by an indelible motif common to all three. However, perhaps that is understandable, since after their first combined performance in Prague in 1892 (under the collective title ''Nature, Life and Love'') even the composer had his doubts about their linkage, and they were published with three separate opus numbers. Nevertheless, they fit together rather well in recorded form, especially with the two more atmospheric pieces (In nature's realm and Othello) framing the scintillatingly brilliant Carnival as the centrepiece. It is perhaps the only performance of those on this disc that disappoints a little. It certainly doesn't lack colour or liveliness; it is most enjoyable, but I would have liked just a bit more unbuttoned exuberance, such as Istvan Kertesz brought to it (Decca). But evocation and delicacy of colouring are John Farrer's strong points—note the lovely cor anglais solo at the centre; and he can also bring a light rhythmic touch to Dvorak's lilting melodies that reminds us how delicately flavoured they are with the Czech folk idiom.
The unfolding of In nature's realm, where the main idea steals in, is pleasingly fresh, and Farrer builds a splendid climax; he is also very touching at the opening of Othello, where the strings are poignantly tender. There is plenty of high drama later, but the love scene is equally persuasive when, following a glowing woodwind chorale, there are lovely veiled strings (12'31'') evoking soft moonlight. The Scherzo capriccioso is also given a bright, vivacious performance, and again reflects Farrer's gift for creating music-making that appears to be spontaneous. His treatment of the famous lilting secondary theme is subtle in its lift (not as swoopy as Barbirolli on EMI for instance) but very beguiling just the same, and the calmer middle section is nicely judged; then there is no doubt about the spontaneous combustion of the coda, a thrilling surge of energy and momentum.
But perhaps the finest performance is of the Symphonic Variations, a work that can readily sound Brahmsian, but here given such a vivid palette and such airy textures that one thinks more of the spirit of Dvorak's own Slavonic Dances. The orchestral playing has real polish and finesse, and heaviness is altogether absent. That is not to say that the piece is made to sound without substance, rather that it has great lyrical charm, an engaging lyrical flow and much delightful detail, the buoyant fugue at the end not in the least pedagogic. Just sample the swirling flutes and strings at 8'19'', the gently rocking variation which follows, or the later reprise of the main theme caressed by the horns against lightly decorative violins (11'45''). Here John Farrer is helped by Brian Culverhouse's sound balance, which provides a nicely transparent overall orchestral texture within St Barnabas's Church, Mitcham. There is a certain lack of sumptuousness in the violins in consequence (the ear registers this at the very opening of In nature's realm), but in all other respects the effect is very pleasing. The orchestra has tangibility and the recording's wide dynamic range is never tiresome when Dvorak gets his trombones going.
If you respond to this programme there is much to enjoy. However, the documentation is totally inadequate, with little information about the Symphonic Variations, and they are not separately cued.'