Track Listing

Disc 1:

1. Symphony No. 7 In D Minor, Op. 70: 1. Allegro maestoso
2. Symphony No. 7 In D Minor, Op. 70: 2. Poco Adagio
3. Symphony No. 7 In D Minor, Op. 70: 3. Scherzo. Vivace - poco meno mosso
4. Symphony No. 7 In D Minor, Op. 70: 4. Finale. Allegro
5. Symphony No. 8 In G Major, Op. 88: 1. Allegro con brio
6. Symphony No. 8 In G Major, Op. 88: 2. Adagio
7. Symphony No. 8 In G Major, Op. 88: 3. Allegretto gracioso
8. Symphony No. 8 In G Major, Op. 88: 4. Allegro, ma non troppo

Disc 2:

1. Symphony No. 9 In E Minor, Op. 95 'The New World': 1. Adagio-Allegro molto
2. Symphony No. 9 In E Minor, Op. 95 'The New World': 2. Largo
3. Symphony No. 9 In E Minor, Op. 95 'The New World': 3. Scherzo. Molto vivace
4. Symphony No. 9 In E Minor, Op. 95 'The New World': 4. Allegro con fuoco
5. The Wood Dove, Op. 110
6. The Moldau: II. The Moldau

Product Details

• Released on: 1993-01-01
• Number of discs: 2
• Format: Import
• Dimensions: .22 pounds
• Running time: 146 minutes

From Amazon.com
Rafael Kubelík's complete Dvorák symphony cycle with the Berlin Philharmonic is one of the glories of the DG catalog, and this sampler, containing the three last symphonies at a twofer price, is all but irresistible. There were few conductors more authoritative in this music than Kubelík, and he inspired his players to performances that routinely surpassed the response they gave their regular conductor, Herbert von Karajan. This is essential listening. --David Hurwitz

Customer Reviews

Way above all others...
This is a Dvorak cycle which is at once tasteful and powerful. the brass sonorities of the BPO are richly caught...Kubelik was a master in this repetoire.

Excellent interpretations...okay recordings.
Dvorak's music contains a great wealth of melodic inventiveness---grand climaxes, nostalgic reflections, panoramic vistas and exquisite instrumental color. I often find that recording values chosen by sound engineers tell me as much about Dvorak as the interpretive preferences of conductors. This in mind, here are my comments and choices for these three marvelous symphonies. Though Rafael Kubelik was, I feel, one of the finest interpreters of Dvorak's music, he often was not given the best treatment in the DGG recording studio. For example, the horns sometimes border on stridency and could stand a little more fullness. In the "New World", Kubelik has some nice touches, and the overall view is a very fine one; however, sound engineers prevent it from being even finer. This is no Decca recording staff. Want the best "New World" ever made in stereo with conductor/orchestra/sound hall and staff at their peak ? It's Istvan Kertesz, in what was perhaps his first recording for Decca/London, circa 1960, with the Vienna Philharmonic. It needs to be re-issued and enshrined in the company's Legendary Performance series. Now, on to Dvorak's Seventh, a work considered by some to be his finest symphony. Here, the sound is not given much better treatment than in the "New World". Kubelik maintains his usual lyrical approach. There are a few sections in the final movement where I find some interpretive idiosyncrasies unappealing. Also, the colorful main theme in that movement could have proceeded with a little more brio. Otherwise, one of the better Seventh's I've heard. Another fine account, from years past, was Haitink's (Philips/Epic) in his first ever recording with the Amsterdam Concertgebouw. It is not or probably never will be issued on CD. The Concertgebouw has also recorded (Philips CD) Colin Davis in this and the other Dvorak masterworks. I'm sorry, but as good as the orchestral execution and sound quality are of these releases, Davis does little for me in Dvorak because he seems to lack the feel for the Czech idiom. One conductor who had it, aside from Kubelik, was George Szell. For me, his Cleveland performance of the Seventh is the finest available in stereo. But there was another conductor with perhaps more Dvorak in his blood than anyone else. And that was Vaclav Talich. His 1938 account with the Czech Philharmonic (though in mono, and fairly good sound, at that) stands alone. There's loving care expressed in every bar. Moreover, this is no soppy interpretation. The dynamics are certainly there when called for. You can find his account, usually coupled with the Dvorak Eighth, on several different labels. I own the Koch.

And now on to the best of the lot, Dvorak's Eighth. This work is my favorite in the entire symphonic literature. Again, less than ideal recorded sound, but certainly good enough to convey one of the very finest accounts the Eighth has ever received. The inflections, reflections, poetic musings and dynamic contrasts are all on the mark. What an absolutely beautiful interpretation ! I have only one very, very slight criticism. Maybe the pace of the last movement is a little too fast. But I'm not complaining. There are a few other outstanding Eighths which deserve mention. Kertesz's version with the London Symphony stands on the same level with Kubelik's. The former is much better recorded, and he presents his view of the music in an equally convincing manner. His fourth movement tempos are a little closer to how I feel things should flow. And, lastly, there's Bruno Walter's view. Again, a wonderful atmospheric presence, (though the sound here too is sometimes less than ideal) but where Kubelik is a shade too quick in the finale, I feel Walter is just a tad slow; anyhow, this too ranks high on the list of Dvorak Eighths, though I place it just below the Kubelik and Kertesz. In closing, I'll give the Kubelik set four stars. Except for some sound considerations, I'd rate it four and a half.

Great Performances, Great Value of Kubelik & Dvorak
Those on a budget might seriously consider getting this two CD set of Rafael Kubelik conducting the Berlin Philharmonic, in lieu of the multiple CD set of his entire Dvorak symphony cycle. These are electrifying performances every bit as good as Sir Colin Davis' readings with the Concertgebouw Orchestra. Admittedly, the sound quality might not be as splendid as those of recent vintage, yet this is a set worth acquiring. With regards to the quality of the performance, Kubelik's 1960's account is as fine as the latest I have heard from the likes of Abbado and Harnoncourt. This two CD compilation concludes with Kubelik's celebrated version with the Boston Symphony Orchestra of the tone poem Moldau from Smetana's tone poem cycle Ma Vlast.