Dvorak: Symphonic Works [Box set]

Vaclav Neumann (1920-95) was one of the greatest Czech conductors of his era and he was a Dvorak specialist. This new release from Supraphon gathers his symphonic music from that composer in one box and, if this price of less than $7 in USA holds (in April 2012), makes it available to a new generation of listeners as a fantastic buy. Note that, in June 2012, Amazon discontinued offering this set for prices rangning from $6.95 to $10.95 and priced it around $30.

Recorded during the 1960s and 1970s, some of these pieces are in constricted sound. The tone poems after Erben, in particular, were always below par for its period. And Vaclav Neumann was considered by some more a reliable than inspired conductor, even if his old "three-fer" CD boxes of the symphonies were ranked highly by most critics. I enjoyed the last one of those I had, Symphonies Nos. 4-6, which also earned a 10/10 artistry and sound rating from Classics Today.

Personally, Neumann was always one of my favorite conductors in Czech music. He knew the territory and didn't dawdle over little things. He consistently found the big picture and gave it to you appropriately -- as his genuinely good mood in the festive Symphony No. 6 shows. His "New World" symphony is typically big and brassy.

The big plus is the size of this collection -- every symphony and most of the tone poems and overtures Dvorak wrote for orchestra on 8 disks played by the Czech Philharmonic Orchestra from its heyday with wavering tone in the horns. If you are looking to acquire Dvorak's symphonic music, this is staggering in duration for very little money. Here are the contents courtesy of Supraphon's website:

CD 1
1. Symphony No. 1 in C minor The Bells of Zlonice 47:31 TT

CD 2
1. Symphony No. 2 in B flat major, Op. 4 49:56

CD 3
1. Symphony No. 3 in E flat major, Op. 10 35:04

2. Symphony No. 4 in D minor, Op. 13 40:58

CD 4
1. Symphony No. 5 in F major, Op. 76 38:21

2. Symphonic Variations for Large Orchestra, Op. 78 22:57

CD 5
1. Symphony No. 6 in D major, Op. 60 43:06

2. Symphony No. 7 in D minor, Op. 70 37:29

CD 6
1. Symphony No. 8 in G major, Op. 88 37:37

2. In Nature's Realm. Op. 91 14:35

3. Carnival Overture Op. 92 9:24

4. Othello Overture Op. 93 14:18

CD 7
1. Symphony No. 9 in E minor From The New World, Op. 95 41:20

CD 8
1. The Water Goblin. Symphonic poem after K.J.Erben, Op. 107 19:42

2. The Noon Witch. Symphonic poem after K.J.Erben, Op. 108 14:28

3. The Golden Spinning Wheel. Symphonic Poem after K.J.Erben, Op. 109 25:32

4. The Wild Dove. Symphonic poem after K.J.Erben, Op. 110 18:24

If you don't find them here, you can listen to MP3 sound bytes from this set (that probably don't do the CDs justice) at Supraphon's website.

Superb cycle superb value and just to correct an error in the other review Symphonies 1 & 2 are stereo - the entire cycle was recorded over about 18 months in the early 70's. No, the sound is not modern demonstration class but wholly acceptable. At this current price a no-brainer.

Great Dvorak is not in short supply. Kubelik, Kertesz, Rowiki (and to a lesser extent Jarvi and Pesek) have all given us fantastic cycles. But, with the partial exception of the Pesek set, none have come from a truly authentic or idiomatic source. Indeed, Kubelik's Berlin cycle was the last word in orchestral opulence and execution even if it lacked rustic charm while Kertesz's gutsy set featured somewhat colorless playing from the London Symphony. Here, however, we finally have Neumann's complete cycle with the incomparable Czech Philharmonic in one, budget-priced set, which now can stand as the reference edition of these works.

The importance of having the Czech Philharmonic playing this music cannot be overstated. Upon first listening, it is immediately apparent that this orchestral timbre add such depth of color, nuisance, and feeling to the music that other sets are put to shame. Take, for instance, Neumann's Carnival overture. The outer sections have all the typical color and flair that you would expect in this music, but has the central interlude ever sounded more poignant or beautifully shaped? If so, I certainly have not heard it. Or listen to the absolutely crushing climax of the Water Goblin, where Neumann's bright, steely trumpets send shivers down the spine. Nothing can compare to the beautiful, watery sound of Czech clarinets, which bathe the opening of the 5th symphony with unending character or the fabulous, rustic horns, which add an extra dose of horror to the eerie glow of the coda of the 7th's allegro. The strings make much of their parts in the dance movements, particularly the furiant in the sixth and the rhythmically complex scherzos in the 7th and 9th. From top to bottom, the sound is so unlike anything you are likely to hear from any other source which is all the more disturbing because this pallet is exactly what Dvorak had in mind.

Or course, great orchestras do not great cycles make. Neumann, as the man in charge, delivers performances that are, on balance, the best available. The opening of the 4th, a particularly gnarly movement, rarely has sounded so coherent or flowing while the same symphony's endlessly repetitive finale sounds far less tedious than most. The at times rambling 3rd here is given a strong spine coupled with drop-dead spectacular playing. The three big-name symphonies all live up to their star status. Just listen to the absolutely crushing developmental climax and recapitulation in the 8th's allegro or the coda of the same symphony's finale. Neumann knows how to drive to climaxes, shape primary and secondary themes, and prove to the listener that Dvorak was no mean composer when it came to the sonata ideal.

Not only do we get the nine symphonies, but Supraphon has also given us the Overture Triptych, the symphonic variations, and the four symphonic poems to boot. If anything, these works are even better than the symphonies, and that is saying something. Just listen to the "weeping" strings in the Wood Dove or the witch's brouhaha in the Noonday Witch. Spectacular.

Sound is fine for a recording of its time, while Neumann holds to the convention of the day in not observing exposition repeats, a sad error in my mind. Allegros are generally measured, slow movements flowing, dances are quick, and finale's are played to the hilt. A must have for any Dvorak collection.