In May of this year, I welcomed the inaugural release from the Melbourne Symphony Orchestra’s own label – a captivating, albeit brief, programme of vocal works by Debussy and Strauss Strauss: Vier Letzte Lieder, Debussy: Ariettes oubliées - Stagg, Martin. On that recording the orchestra played an accompanying role, yet their individual and collective musicianship left a favourable impression.

Now, the MSO presents their latest offering: a live recording of Dvořák’s Symphonies Nos. 5 and 6, marking the beginning of a planned cycle of the composer’s nine symphonies. Conducted by their Spanish Music Director, Jaime Martín, this release delivers a promising – if not groundbreaking – start to the series.

Dvořák’s first five symphonies remain something of an enigma in the concert repertoire, as they are seldom performed despite being rich with engaging melodies, spirited Bohemian dance rhythms, and stirring drama. Symphony No. 5, in particular, brims with natural beauty. Dvořák’s biographer, Otakar Šourek, once described its first movement as evoking “the voice of rustling woods, the song of birds, the fragrance of fields; the strong breath of nature rejoicing and a sense of mortal well-being.” Martín brings a clear affinity for the work, offering a lovingly shaped and nuanced interpretation that showcases the orchestra’s considerable strengths. Recorded on November 17–18, 2023, the performance benefits from the expertise of producer Ingo Petry (Take 5 Music Production), who handled the editing, mixing, and mastering, alongside Jonathan Stokes of Classic Sound who managed the multi-channel SACD mastering. The result is a captivating rendition of an often-overlooked gem.

Competition in the recording landscape for Symphony No. 6 is much stiffer, with interpretations from conductors such as Sejna, Kertész, and Kubelík setting high benchmarks. Martín’s approach, recorded July 20–22, 2023, is thoughtfully considered and well-executed, though it lacks the distinct character and dynamism of these aforementioned iconic accounts. That said, the MSO’s enthusiastic playing – especially the exceptional woodwind section – adds charm and vitality. While some may lament the omission of the exposition repeat in the first movement, the disc's generous runtime of 83 minutes and 28 seconds leaves little room for complaint.

The recording captures the orchestra in the warm and reverberant acoustics of Hamer Hall at the Arts Centre Melbourne. Though natural and pleasing, the sound balance is slightly lacking in detail, which some listeners may find a minor drawback.

In summary, this is an enterprising release that admirers of Dvořák’s symphonic output are sure to welcome and I look forward to seeing how the project evolves in future instalments.

Copyright © 2024 Graham Williams and HRAudio.net

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