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Dvořák
Symphony No. 7 & Symphony No. 8

 
 
Philharmonia Orchestra
Sir Charles Mackerras, conductor


 

The Observer, 29th January 2010

Whereas Dvorak’s Seventh gets a good press from the pundits, there’s something about the Eighth that irritates them into finding supposed shortcomings. Yet, listening to both together, I’m forced to conclude that it’s the pundits’ assumptions that need rethinking, not the composer’s invention. No 8 is certainly different from the rather Brahmsian No 7, but no less cogent in its more experimental way. It carries all before it in a good performance, which it gets here from that master of Czech music, Charles Mackerras – 82 when these live recordings were made - and in spanking form. The woodwinds’ birdsong in No 8 is a special pleasure. A slight slip in the cellos at the variation theme’s return in the finale is a tiny price to pay for the vitality of the Philharmonia’s playing.

David Cairns

The Sunday Telegraph, 31st January 2010
*****

Dvorak’s greatest symphonies receive magisterial performances from the Philharmonia under Sir Charles Mackerras, whose baton seems to turn everything it controls into gold. His interpretation of the Seventh, so Brahmsian a work yet so typical of its composer, combines passion and lyricism but does not overstress the tragic element in the slow movement, which is marvellously played. The scherzo is the spirit of the dance. The Eighth is also given the full Mackerras treatment. The phrasing of the opening theme is magical. The originality of structure of this symphony is often overlooked in assessing its stature, but conducting of this order finds the key to unlock it.

Michael Kennedy

Musicweb-International.com, February 2010

In the last few years a significant number of orchestras have established their own labels on which to issue performances, usually taken from live concerts. In London both the London Symphony Orchestra and the London Philharmonic come to mind. Another of the city’s orchestras, the Philharmonia, seems to be following a slightly different path in forming what is now a well-established and successful partnership with Signum Records. We’ve already had some fine recordings of works by Brahms, Schubert and other great composers and whilst it might be argued that the repertoire to date has been rather more confined to the mainstream than some of the releases on the aforementioned LSO and LPO labels there’s no denying the high artistic values of the Philharmonia/Signum releases. Now they turn to Czech repertoire under the leadership of arguably the finest non-Czech conductor of that country’s music.

The booklet reminds us that Sir Charles Mackerras is now eighty-five years old - and was eighty-three when these performances were given. Can that really be true? Many conductors have gained in wisdom as they’ve grown older - and I’m sure that applies to Sir Charles also - but by no means all have retained their vitality in the way that he most evidently has. These fresh and vital performances defy the years.

As well as the vitality what impresses as much in these readings is how natural and effortless they sound. It might be argued that these are standard repertoire pieces; that an orchestra such as the Philharmonia can play in its sleep. But these symphonies, familiar though they may be, most definitely don’t play themselves. These performances have surely been prepared scrupulously yet not so strictly as to squeeze justifythe freshness out of them.

In both these symphonies the orchestra sound to be enjoying themselves. The winning third movement of the Eighth, for example, flows delightfully and with charm - and with a delicious but not overdone amount of portamento. The trio has a lovely, natural swing to it. Earlier in the same symphony - my personal favourite among the Dvořák canon - the slow movement is warmly sung, the phrasing supple and affectionate. The trumpet fanfare that introduces the finale is a true, proud call to attention. The main body of the movement, memorably labelled a set of “footloose variations” by the late Michael Steinberg, is splendidly performed here, with Mackerras and his players alive to all the changes of emphasis and mood in this most engaging movement. The gently nostalgic pages near the end are lyrically phrased but then Mackerras whips up a red-blooded coda which understandably draws an ovation from the otherwise commendably quiet audience.

The Seventh, considered by many eminent judges to be the composer’s symphonic masterpiece, is darker-hued with the influence of Brahms more evident. Again, Mackerras is a most convincing guide to the symphony. He establishes a mood of suspense at the very start and then ensures that the energy is properly channelled and released during the course of the first movement, He relaxes nicely for the more lyrical episodes but never lets the tension and intensity drop.

The slow movement begins disarmingly enough, though at times during its course Dvořák becomes more searching. Mackerras brings out all the lyricism in this gloriously-scored music but doesn’t short-change the moments when the skies darken. The very Czech cross-rhythms of the third movement are inflected beautifully - the music is always kept on its toes. The finale contains the most dramatic music in the symphony and Mackerras’s conducting is full of fire and momentum though, as ever, he relaxes perfectly when the score calls for it.

Throughout these performances the Philharmonia produce top-notch playing in all departments. Some of the woodwind playing is a particular delight but it would be invidious to single out sections or players when the corporate response is so keen and excellent. Most of these players will have played these scores umpteen times in their careers but there’s no sense of routine. The recorded sound for both performances is very clear and pleasing.

Sir Charles Mackerras has given us some splendid records during his long career, not least in the last few years - one thinks of his wonderful Beethoven cycle for Hyperion, for instance (see review) - and here he’s on top form again. There are countless versions of both of these great symphonies in the catalogue and a good number of them couple the two works. However, these spirited, authoritative and, above all, highly enjoyable readings are a match for the finest in the field.

John Quinn

Classic FM CD of the Week (11th January 2010)

If you like Dvorak’s famour Symphony No.9 (‘From the New World’), we think you’ll enjoy getting to know Nos.7 and 8 on this CD.

The first of Dvorak’s symphonies to exhibit such expressivity and sometimes called the ‘Tragic’ Symphony, No.7 is a hidden gem. No.8 shows lots of folk influences – perhaps Dvorak’s ‘Pastoral’ symphony.

Sir Charles Mackerras conducts these performances, recorded live at the Royal Festival Hall to capture the immediacy that studio performances so often lack.

Classic FM Magazine, March 2010

Here’s why everyone still wants to work with 85-year-old Charles Mackerras.

Mark Forrest4

The Gramophone, April 2010

Colourfully extrovert readings from Mackerras

Sir Charles Mackerras himself provides potent rivalry in the form of a Classics for Pleasure double-pack where all three late Dvořak symphonies come coupled with the Symphonic Variations. These 2008 live Philharmonia versions of Symphonies Nos 7 and 8 are in general mellower than their 1991-92 predecessors, subtler too in terms of shading and the more expressive tone of various inner voices. The CfP recordings are more sharply focused and have rather more of an “edge” than this Signum productions, while energy levels are marginally higher. What I especially liked about the new disc is the naturalness of both readings, always unaffected yet with plenty of discernable character. The Seventh suggests both autumnal thickets and summer skies, though the overall temperature never quite matches Kubelik’s Berlin recording. Tempi are flexibly negotiated and there’s plenty of light and shade among the textures. The Eighth is extrovert and brightly lit, with one or two telling climactic ritardandi in the first movement and a breathtaking dip to pianissimo just before the horns sound their alarm in the second. The finale isn’t quite as rumbustious as its LPO predecessor but the Allegretto grazioso third movement yields sweetness to spare, much aided by some well employed portamenti.

Rob Cowan

Classic FM Magazine, April 2010
3.5 stars

… Near the end of the Finale of Dvorak’s Eighth Symphony, too, he includes a small but telling change of detail from the published score. His interpretations of this Bohemian work and the more Brahmsian Seventh don’t quite reach the heights of his wonderful Supraphon recordings of the Eight and the ‘New World’ with the Prague Symphony Orchestra. But there’s still a lovely balance here between drama and gracefulness, with the Philharmonia responding warmly at every point in these live recordings.

BBC Music Magazine, March 2010

Mackerras’s approach in the Seventh might be described as operatic with a clear focus on dramatic detail. The Eighth Symphony  fares even better, with a superbly infectious reading of the first movement and real depth in the Adagio; very well recorded, this handsome performance is one of the finest now available.