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Recorded
in 1938, released (as Symphony No 1) on 5 HMV 78s, DB.5932-5936
Matrix numbers 2EA.6846-6850, 2EA.7151-7155
Takes: 1, 1, 2A, 1A, 1, 2A, 1, 1, 1A, 1
Download ID: 213471
(Duration
43'03")
Play
sample movement:
How many
symphonies did Dvorak write? The simple answer is nine - but it would
not seem to be so simple to the listening public at the time of this recording,
which is clearly labelled "Symphony No. 1 in D major, Op. 60".
Indeed for many years there were just five officially numbered symphonies,
with the other four published posthumously (the manuscript of the first
had been lost to the composer himself). Thus the composer referred himself
to this as his first symphony; we've chosen for the sake of clarity to
use the modern numbering system, which started to be used in the late
1950s. (There is much opportunity for confusion - the 'New World' Symphony
has variously been numbered 5, 8 and 9!)
This symphony,
rather less well known than it perhaps deserves, shows both the influence
of Brahms' 2nd Symphony, particularly in the outer movements, though the
central two are pure Dvorak, with a beautiful, stirring Adagio second
movement, and the wonderful Scherzo, remeniscent of his Slavonic Dances.
Indeed when the work was premiered, its enthusiastic reception led to
the third movement being played again as an encore, and it's that movement
which we've chosen to highlight here.
The recording
here, made in Abbey Road in 1938, is one which has roots leading right
back to the composer himself. Talich, whose name was synonymous with the
Czech Philharmonic for nearly forty years, had both heard Dvorak play
and met the composer as a young man. His handling of Dvorak's music, arguably
that of the greatest Czech composer, is second to none, and the orchestra
is superb, with all but two of the ten sides done in the first take. Wonderful
music-making to savour!
When
I was in my 20's (1950's), it was thought that Dvorak had
composed only five symphonies and I was amazed that #1 (#6)
was of such high quality. The symphony has one of the most
entrancing openings in all music: as if the earth is taking
a few breaths before the first theme arrives. And what a theme:
so relaxed, so rustic, so redolent of forests and air and
flowers. And then the theme tightens up and is given as a
rhythmically powerful and full-throated fortissimo. The symphony
is magnificent throughout with a fiery scherzo and a finale
that presents a new and original mood and brings an emotionally
satisfying end to the work. After I learned that five symphonies
had preceded this work, its masterful craftmanship was explained.
I
prefer the Czech Philharmonic and Czech conductors in this
work. The Czech Philharmonic has such prominent and rustic-sounding
woodwinds and woodwinds are very important to Dvorak's textures,
often giving the first statements of the theme. I can resist
the brilliance of the Berlin Philharmonic with Kubelik; they
are a little too sophisticated and string-driven for this
work. Czech conductors know how to let Dvorak breathe and
impart a certain lilt and rubato that I think is essential.
I
have compared the first movement of the Dvorak 6th in three
performances, all with the Czech Philharmonic, all with Czech
conductors:
1.
Talich (1938) (Pristine Audio)
2.
Neuman (1983) (Supraphon)
3.
Ancerl (1966) (Supraphon)
The
Neuman can be easily dispensed with. It is rather matter-of-fact,
has a heavy bass emphasis and, because detail is not highlighted,
seems slower than the other two. It is very difficult to choose
between the Ancerl and the Talich. The Ancerl is very dynamic
and forward moving with thrilling fortissimi and brass and
tympany to the fore. Yet, he does let the phrases breathe
and the woodwinds are clear and forward. A splendid performance.
Yet, Talich has something different. The beginning is very
moderate as if the earth is awakening. While the fortissimi
are loud enough, they never seem to call attention to themselves.
There is never a hurry. A crucial moment is the transition
to the development where the strings linger in a mysterious
passage. The true climax is saved for the coda where the brass
blare urgently and then quiet down for the end.
I
do not want to imply any great superiority of the Talich over
the Ancerl, and in spite of Pristine Audio's very capable
remastering, the Ancerl far outpoints the Talich in sound.
But the Talich conveys a pastoral, spiritual quality that
is so appropriate for this symphony and that is perhaps no
no longer possible to create in the 21st century.
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