As well as the two earlier Kubelik performances on Decca and DG listed above, there are several other excellent sets of Smetana's cycle of tone-poems—by Ancerl with the Czech Philharmonic (Supraphon/Counterpoint 50521/2, 7/73), by Neumann with the same orchestra (Supraphon 4102021/2, 5/78), by Weller with the Israel Philharmonic (Decca DJB2004, 6/79) and by Smetacek with the Czech Philharmonic again (Supraphon 1110 3431/2, 1/83). Though an admirer of the performances by Neumann and Smetacek, especially, I remain loyal to Kubelik. His performances have a particular lyrical ease and at the same time formal strength that has scarcely changed through his now long recorded association with the works. There is little in the way of new emphasis in the most recent of them, though perhaps he now takes ''Vltava'' more easily, and in general tends not to emphasize points so firmly but to allow them to come naturally into perspective. But really decision can rest upon orchestra and recording; and though the 1959 Decca has served its turn well the 1971 DG, which is splendidly recorded and has some marvellous playing from the Boston Symphony, is better.
The new Orfeo does not really displace this, for despite Kubelik's happy association with the orchestra over the years and their very high standards, they do not have the character of the VPO or the virtuousity of the Boston Symphony. Nor is the recording so remarkable as to displace the first-rate DG version; indeed, I prefer the warmth and depth of the DG to the more precise but slightly cool new Orfeo.'