A pleasing programme, although I do wish that Decca (or Dohnanyi) had traded the ‘dangling carrot’ of “Vltava” for extra helpings of rare Smetana – more orchestral/choral excerpts from the operas, perhaps, or the late Prague Carnival “introduction and polonaise”. As to what is on offer, pride of place must go to the magnificent Overture to Libuse, a work that was completed in 1872 but not actually premiered until 1881, two years before Dvorak composed his Hussite Overture along vaguely similar lines. The opening brass-and-timpani fanfare anticipates Janacek’s Sinfonietta, although ensuing incident is more reminiscent of Smetana’s own Ma vlast and, especially, Wagner (note the beautiful, Lohengrin-style descending passage from 5'27''). Dohnanyi effects ideal pacing and tapers a beautifully graded diminuendo away from the bold opening (from, say, 1'10''), but the strings are occasionally less than precise – especially at around 4'17''.
The two widows opens somewhat in the manner of late Verdi though the overall flavour is unmistakable, especially at 3'20'' where Smetana launches a quietly mischievous fugue over a held bass pedal. Then there is the delightful “Polka” and the lively Overture to The Kiss, both prime-cut samplings of Smetana’s mature style. The bartered bride suite is very nicely done, although synchronization falters momentarily just after 1'00'' into the Overture, and don’t expect Dohnanyi’s “Dance of the Comedians” to match Szell’s Cleveland recording of 30 years earlier for precision, especially among the strings. In the “Polka”, vivid stereophony lends considerable presence to the chorus, who make a very bold entrance: I initially thought I had been gatecrashed by a crowd of unannounced guests! “Vltava” is equally effective, what with its stylishly phrased opening, sensitive transitions (especially into the “Peasant’s Wedding” episode) and powerful current later on.
The sound is resonant and full-bodied, except that important ‘hunting’ horns are virtually inaudible at 1'46'' and some louder climaxes want for detail. Still, this remains an enjoyable programme, although it is a shame that there wasn’t more of it.'