Rafael Kubelik was one of our foremost interpreters of Dvorak and other great Czech composers such as Smetana and Janacek. His critically acclaimed 1960's Dvorak symphony Deutsche Grammophon cycle was reissued several years ago as a budget-priced collection.
As orchestras and conductors have been demonstrating for more than a century, you don't have to be Bohemian to play Dvorák. All you need is profound musicality, a deep love of life, and an overwhelming urge to communicate. These are all qualities that Ivan Fischer and the Budapest Festival Orchestra demonstrate in full in this 2000 Channel Classics recording of the composer's Eighth and Ninth symphonies. In these performances, one hears not only edge-of-the-chair excitement from the Hungarian musicians, one hears joy, happiness, and good old-fashioned fun. Listen to the rollicking horn trills in the Eighth's Finale, the thundering timpani in the Ninth's Scherzo; the interplay between winds, strings, and brass in the coda of the Eighth's Scherzo; the lush string tone in the Ninth's Largo; the headlong rush of the Eighth's opening Allegro con brio; or the awesome power of the Ninth's closing Allegro con fuoco.
Two glorious Czech masterpieces are presented on this 2014 release from Alpha, performed on period instruments by the exceptional Anima Eterna Brugge, directed by Jos van Immerseel. Considering that Antonín Dvorák's Symphony No. 9 in E minor, "From the New World" was completed in 1893, and Leos Janácek's Sinfonietta dates from 1926, and the period instruments movement mostly has been concerned with Baroque and Classical era works, original instrumentation might strike some listeners as odd. Yet performances in the late 19th and early 20th centuries called for instruments that differ substantially in construction and tone quality from modern models, and the variety of timbres was much greater with handmade instruments than the homogenized sounds of today's mass-produced woodwinds and brass.
Liederabend "Wien-Prag-Berlin". Geografisch bilden Wien, Prag und Berlin gewissermaßen die Nord-Süd-Achse Mitteleuropas.
Historisch sind diese drei Metropolen schicksalsträchtig miteinander verbunden; für die Ambivalenz zwischen Freundschaft und Feindschaft geben die drei Jahrhunderte seit dem Barock ein beredtes Zeugnis. In der Musik besteht eine lange Tradition der gegenseitigen Befruchtung zwischen diesen Städten, die nicht zueltzt im kompositorischen Netzwerk zum Ausdruck kommt, in welchem die Schöpfer der von einer Berlinerin und einer Wienerin gesungenen Duette verbunden sind.