Page 3, 31st October 1941

31st October 1941
Page 3
Page 3, 31st October 1941 — Gramophone Recordings Depth and Honesty of Dvorales Work
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Gramophone Recordings Depth and Honesty of Dvorales Work

H.M.V.

nNCE more we have to thank the Gramophone Company for a really outstanding album of records.. (No. 363.) This is a recording on five records (10 sides of the Symphony No. 1 in D major of Dvorak (Op. 60)).

This was the first Symphony in order of publication, dated 1880, dedicated to Hans Richter and first heard in London in 1384 at a concert of the Philharmonic Society. In order of composition this was his fifth Symphony the first three

being in a sense " and the fourth is the Symphony in F minor, written in 1875, and now called Op. 76.

In any case, this "first " Symphony is the fruit or his matured genius. It is classical in the wider sense of the term in use after the death of Beethoven ; and the first theme of the first movement shows that Dvorak is conscious of his great heritage.

The recording is by the Czech Philharmonk Orchestra, conducted by Vaclav Tallith, so it may be regarded as an authoritative reading.

Easy and flowing though the style of Dvorak may be in his various symphonies, it would be the greatest mistake to imagine that they do not—one and all — repay the

closest study : and the intimacy afforded by the possessioreof these records impresses on the listener more and more the depth and honesty of Dvorak's genius.

The second movement alone would redeem any Symphony from the conventional —with its dream-like orchestration and en trancing melody. This is followed by a Furiant — Bohemian dance. in •varying rhythms and reminiseeet of the famous Slavonic Dances. And the Finale is, as Tovey said of it, " admirably endowed with the quality that is rarest of all in strictly post-classical finales, that is, the power of movement,"

Decca DVORAK'S Terzetto for two violins and viola (Op. 74) receives a sympathetic recording by Frederic Cirinke, David Martin and Watson Forbes (viola), The problem of writing a terzetto is to create the illusion of depth and changing tone-colour train these slender resources—in other words, not to let the first violin run away with all the tunes and all the interest.

Viewed horn this angle the skill of Dvorak in Chamber music receives another illustration and each of the three movements is a cionplete if miniature study. (Three records —six sides.) . C.O.M.




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