DVOŘÁK Symphony No 8 STRAUSS Don Quixote
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss, Antonín Dvořák
Genre:
Orchestral
Label: BR Klassik
Magazine Review Date: 02/2017
Media Format: Digital Versatile Disc
Media Runtime: 111
Mastering:
DDD
Catalogue Number: BVD08023
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Tracks:
Composition | Artist Credit |
---|---|
Don Quixote |
Richard Strauss, Composer
Mariss Jansons, Conductor Richard Strauss, Composer Symphonieorchester des Bayerischen Rundfunks Yo-Yo Ma, Cello |
Carnival |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Symphonieorchester des Bayerischen Rundfunks Yo-Yo Ma, Cello |
Symphony No. 8 |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Symphonieorchester des Bayerischen Rundfunks Yo-Yo Ma, Cello |
Author: Richard Osborne
The Carnival overture, the rowdier younger brother of the Eighth Symphony’s own folk-festival finale, is a difficult piece to bring off if it’s a musical revel you seek as opposed to mere noise. Happily, there is nothing remotely noisy about this exceptionally classy performance. The Eighth Symphony is one of the loveliest – and in episode after episode one of the most purely affecting – in the repertory. This is a deeply treasurable account of it. It is also one that yields nothing in charm or authenticity of mood to performances under such Czech-born masters as Talich, Stupka and Kubelík. (I see that Stupka’s live 1959 recording with the Czech Philharmonic, a performance long known to Dvořák collectors, has recently been reissued by Praga.)
The Quixote, sadly, is a disappointment. Orchestrally it is highly explicit: at times, perhaps, too much so. But it is Ma who is the real problem, with his visually impassioned but often tonally exiguous and dramatically indeterminate playing. The ‘Vigil’ is movingly realised but elsewhere his performance falls some way short of such classic recorded accounts as Fournier’s (with Krauss, Karajan or Szell), Tortelier’s (with Beecham or Kempe) or Janigro’s (with Reiner). The Sancho Panza is the orchestra’s young Chinese-born principal viola Wen Xiao Zheng. He is very fine, as is the cellist Maximilian Hornung (a Quixote in waiting?), who joins Ma in one of his two nicely contrasted encores.
But it’s the Dvořák that’s the real draw here. The symphony’s rapturous reception – the genuine rapture of an audience bowled over and ablaze with joy – says it all.
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