Classical
Ivan Fischer and his Budapest Festival Orchestra have achieved an impressive reputation in the romantic eastern European repertoire. Their recordings of Brahms' Hungarian Dances, Liszt's Hungarian Rhapsodies, the late Dvorak Symphonies and Bartok's orchestral works have been critically acclaimed and gained them recognition as an ensemble to rival the top rank orchestras in these works. With this new recording of the Dvorak's ever popular Slavonic Dances they enter a crowded, highly competitive field which means unavoidable comparisons with the likes of Kubelik, Pletnev, Previn, and above all, the classic 1960s recording by George Szell and his stunning Cleveland orchestra.
The first dance is a false start. It is not the exciting beginning to these dances that you're used to hearing. It's more of a sober introduction to the two cycles and it isn't until you move on to the second track that you begin to see the merits of the approach. Unlike most conductors, Fischer resists the urge to forcefully drive the music forward. Compared to Szell's theatrical exuberance, his approach is more delicate, more leisurely and those looking for a consistently thrilling reading will perhaps be disappointed. However, his sense of flow and seductive rubato, as well as his fine ear for detail compensates for the lack of excitement in the more raucous dances.
The orchestra respond to Fischer's probing approach well, especially in the more lyrical sections, where the textures are at their most seductive. The orchestra are on marvellous form. The strings are smooth and lean, yet manage to play with a rich sound ideal for this type of music. The brass playing has exciting bite and edge to it when necessary. The woodwinds, who give the most enjoyable contribution, are bright and sharp (especially the flutes and piccolos). The crisp percussion contribution is first class. Ensemble is always tight, detail well articulated, and the entire orchestra succeeds in bringing out the delightful orchestration of these showpieces. To be convinced of the merits of the playing, one only needs to have a listen to tracks 2, 5, 9, 11 or 12 where the music is utterly infectious. Technically, the recording is up to today's usual high quality, allowing the transparency of the reading to come through in warm sound, although at times a touch heavy in the bass.
Taken on its own, this disc is consistently engaging. The playing is refined and elegant, the approach atmospheric yet intelligent. Compared to some of the other available versions, though, these interpretations are a perhaps just a little too slick and precise. Listening again to the vintage Szell recording, there is a spontaneity and flair that, despite the drawbacks in sound, means that the hegemony of the older set remains, for me at least, unchallenged. Still, this disc is recommended to collectors and newcomers alike. A fine, fun disc to brighten up a dreary Hilary Term.
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21st Feb 2002