‘One that loved not wisely but too well.’ Othello’s self-assessment could apply to Andrés Orozco-Estrada’s account of Dvořák’s Ninth Symphony with the Houston Symphony, or at least to the first two movements. Tempos are so broad that the opening sounds flabby, the flute solo (track 1, 4'06") stodgy. The famous Largo has a lovely cor anglais solo by Adam Dinitz, spun out at length, but the string theme which follows (2'56") nearly comes to a sleepy standstill. Orozco Estrada occasionally stirs from his slumber: the first movement eventually builds up a head of steam in the coda and the woodwind birdcalls of the Largo are chirpy. His Scherzo is much more purposeful, although the central Poco sostenuto section rambles. The Houston brass impresses in the finale, especially the trombones, scything through the orchestral texture, but the general impression is one of tender loving care over drama.

That impression is reinforced when you turn to Krzysztof Urbański’s recording with the newly renamed NDR Elbphilharmonie Orchestra, which is packed with incident. There is great ferocity to the timpani and brass volleys in an urgent first movement (Urbański, like Orozco-Estrada, includes the exposition repeat). Punchy brass add a keen sense of drama.

The Hamburg cor anglais (no orchestral listing in the booklet, alas) shades dynamics beautifully in the Largo and the ppp strings that follow are delicately veiled. There is no lingering in the flute-led second subject but a fine sense of flow. The Molto vivace Scherzo rollicks along, furiant-style, but there is still a lilt to the dance. Urbański propels the Allegro con fuoco finale passionately, enabling the listener to revel in Dvořák’s miraculous weaving together of themes from earlier movements. (Although the orchestra has a new name to reflect its shiny new Hamburg venue, where its press photo is shot, don’t be fooled – the symphony was recorded last June in the Laeiszhalle.)

Urbański offers a generous coupling in a robust account of A Hero’s Song, Dvořák’s energetic symphonic poem from 1897 that is without programme. Orozco-Estrada’s disc feels short measure with just two Slavonic Dances from the Op 46 set. If you’re in the market for a new Ninth, Urbański and the Hamburgers are the ones to go for.