When it comes to conducting Dvořák, José Serebrier isn’t afraid to get mud on his boots: he’s out there in all weathers, braving the first movement’s unpredictable climate (the switch from storm to sudden sunshine at around 1'17") and generally favouring the score’s mellower aspects, especially where the cellos are involved (ie from 5'56" and the Poco adagio). Less volatile than Kubelík and more combustible than Alsop, he presents a strong, thick-set Dvořák Seventh, managing some skilful transitions en route, in particular the way he glides from the Scherzo’s first section to its more intensely expressive Trio (at 2'30"). The finale stomps and rages, much as it should, with few mannerisms, tempo-wise (my beloved Kubelík/DG version is rather more liberal in that respect). In his booklet-note, Serebrier tells us that when he was Composer-in-Residence for the Cleveland Orchestra he spent many hours studying George Szell’s marked-up parts for the Seventh and, while that influence is undeniably audible, this is no mere mirror image of a standard Szell classic. It holds its own well.

The fill-ups are variable. The boisterous Eighth Slavonic Dance carries more weight than most but because of that serves as a symphonic-sounding prelude to the main work. In Nature’s Realm starts promisingly but rather loses impetus and although the Scherzo capriccioso, like the Symphony, is ruggedly energetic there are some rough edges to the playing. But the Symphony is the main draw; like its New World predecessor (1/12) in this series, it’s a strong digital contender, worthy of comparison with Marin Alsop in Baltimore and Sir Charles Mackerras with the Philharmonia (both coupled with the Eighth Symphony). Warner Classics’ sound quality is full-bodied and busy.