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Symphonies 1–9; Overtures: Carnival; In Nature’s Realm; My Home; Scherzo capriccioso
Decca (ADD) 430 046-2 (6). LSO, Kertész
Anyone collecting LPs in the 1960s would know these famous recordings with the striking Breugel pictures on the covers. It is still pretty difficult not to think of either Kertész or Dvořák today without thinking of the other, and these recordings have stood the test of time. All are characterized by a crisp, direct approach, with an equal measure of both drama and sensitivity given to scores to which the conductor was so naturally attuned.
This was the first complete recording of the First Symphony (The Bells of Zlonice), and although the fluency of this 54-minute work (written in early 1865) is not always matched by memorability of the material, it has much attractive writing in it which can be fully enjoyed. Zlonice was the place where Dvořák served his musical (as well as butcher’s) apprenticeship, but the music is not intended to convey a programme.
The Second Symphony, written within months of the first, again is hardly vintage Dvořák. His publisher, Simrock, refused to take it when he submitted his Symphonies 3 & 4, even after it had been fully revised. Admittedly the ideas are not as strongly Dvořákian as they might be, and some movements outstay their welcome, but anyone who has been charmed by Dvořák’s wide-open genius will find much to enjoy, notably in the highly engaging ideas in the first movement. One oddity – and weakness – is that each movement has a slow introduction, a case of the composer ‘clearing his throat’ before launching out.
The Third Symphony was the first of the composer’s to show the full exuberance of his genius. When he wrote it in 1873, he was very much under the influence of Wagner, but nowhere do the Wagnerian ideas really conceal the essential Dvořák. Even the unashamed crib from Lohengrin in the middle section (D flat major) of the slow movement has a Dvořákian freshness, particularly when, as here, Kertész adopts a fastish speed – faster than the score would strictly allow – and deliberately lightens the texture. This very long slow movement is in any case the weakest of the three, but the outer movements are both delightful and need no apology whatever. The very opening of the symphony with its 6/8 rhythm and rising scale motifs can hardly miss, and the dotted rhythms of the second subject are equally engaging.
Compared to the exuberant music which flanks the Fourth Symphony, it is something of a disappointment. The opening theme – a fanfare-like motif – is not as characterful as one expects, but the second subject soars aloft in triple time. The slow movement begins with so close a crib from the Pilgrims’ Music in Tannhäuser one wonders how Dvořák had the face to write it, but the variations which follow are attractive, and the Scherzo has a delightful lolloping theme, which unfortunately gives way to a horribly blatant march trio with far too many cymbal crashes in it. The finale, despite its rhythmic monotony, has at least one characteristic and attractive episode, and whatever the shortcomings of the work, there is much that is memorable.
The Fifth Symphony is a work of total genius. It is music to make one share, if only for a moment, the happy emotions of a saint – and what could be more welcome in a modern, nerve-racked life? The feeling of joy is here expressed so intensely that it provokes tears rather than laughter, and it is hard to understand why this work was neglected for so long. It used to be called the ‘Pastoral’, but although it shares Beethoven’s key and uses the flute a great deal (a Dvořákian characteristic), the nickname is not especially apt. What initially strikes one are the echoes of Wagner – forest murmurs (Bohemian ones) in the opening pages, a direct lift from Siegfried’s Rhine Journey in the second theme, and so on – but by the time he wrote the work, in 1875, Dvořák’s individuality as a musician was well established, and the composer’s signature was written on every bar. The slow movement is as beautiful as any in the symphonies, the Scherzo is a gloriously bouncing piece, with themes squandered generously, and the finale, though long, is intensely original in structure and argument.
If the previous symphonies reflect the influence of Wagner, the Sixth just as clearly reflects the influence of Brahms, and particularly Brahms’s Second Symphony. Not only the shape of the themes but the actual layout in the first movement has strong affinities with the Brahmsian model; but Kertész’s performance effectively underlines the individuality of the writing as well. This is a marvellous work that with the Fifth and Seventh forms the backbone of the Dvořák cycle – and that is hardly an idea we should have been likely to give before Kertész gave us fresh insight into these vividly inspired works. Kertész’s reading is fresh, literal and dramatic in his characteristic Dvořák manner, and his tempi are eminently well chosen.
The Seventh is one of Dvořák’s richest inspirations and Kertész offers a relaxed reading, beautifully recorded. In fact, on LP, we thought it slightly (and surprisingly) a bit under-characterized, but in its CD incarnation it emerged just as gripping as other performances in the cycle. This performance, with its many hauntingly yearning themes vibrantly conveyed, is perhaps most successful in the finale, which is magnificently done.
The Eighth Symphony – a popular favourite with many people – simply drips with gorgeous themes. It’s a stunner of a symphony and Kertész’s performance has always been a top choice: the reading is fresh, spontaneous and exciting. The slow movement is affectionate and captures the pastoral quality of the writing, and the tempo for the Allegretto grazioso is particularly well judged. The soaring theme in the strings which opens the third movement sweeps the listener along, and the finale is a blaze of colour and excitement.
The Ninth Symphony (New World) is understandably one of the most popular works in the concert hall and on CD – so popular, in fact, that it is possible to forget what an inspired work of genius it is. Although there have been plenty of superb recordings made since this one, it still deserves its place in the catalogue. Kertész recorded the work with the VPO before this recording, but over the years he had matured enormously, so that this version with the LSO was and remains one of the finest committed to disc. This time, Kertész included the exposition repeat, thus giving the first movement – otherwise very short – its proper stature. But it is in the slow movement that Kertész’s sensitivity emerges most vividly. In essence his approach is as simple and straightforward as could be, yet the hushed intensity of the playing conveys a depth of feeling that makes one hear the music with new ears. Tempi in the last two movements are also perfectly judged – not too fast in the finale – and the recording quality is outstanding. Indeed, the recording quality is superb throughout this cycle. The box set includes some vivacious performances of the Carnival Overture, the Scherzo capriccioso and an exceptionally vivid performance of the tone-poem, My Home. In fact, Kertész made stunning recordings of Dvořák’s tone-poems which were once available on a Double Decca CD, now deleted but which are worth looking out for.
20世纪60年代的黑胶唱片收藏家们，必然对这套以勃鲁盖尔画作为封面的传奇录音如数家珍。直至今日，克泰兹与德沃夏克的名字仍如双子星般紧密相连，这些经受住时间考验的录音诠释，始终以干净利落的处理方式著称，在戏剧张力与细腻情感间取得精妙平衡，完美呈现指挥家与作品浑然天成的默契。
这套录音首创性地完整收录了《第一交响曲"兹洛尼采钟声"》。这部创作于1865年初的54分钟作品，虽未达到旋律记忆点与流畅性的完美统一，却饱含令人愉悦的动人乐段。兹洛尼采是德沃夏克音乐启蒙（兼屠夫学徒）之地，但音乐本身并无具体叙事意图。
数月后问世的《第二交响曲》同样非作曲家巅峰之作。即便经全面修订后，出版商西姆罗克在收到第三、第四交响曲时仍拒绝出版。尽管主题创意未达典型的德沃夏克式高度，某些乐章略显冗长，但沉醉于作曲家开阔乐思的听众仍能发现诸多妙处——尤以第一乐章那些引人入胜的动机为甚。每乐章前置慢板引子的设计堪称奇特败笔，犹如作曲家每次都要"清嗓"方能开唱。
1873年创作的《第三交响曲》首次迸发出作曲家完整的创作激情。虽深受瓦格纳影响，但瓦氏理念从未掩盖真正的德沃夏克特质。就连慢乐章中段（降D大调）对《罗恩格林》赤裸裸的借鉴，在克泰兹偏快的速度处理（严格来说已超出乐谱标记）与刻意淡化的织体下，竟焕发出德沃夏克式的清新。这个过长的慢乐章虽是全曲短板，但首尾乐章的精妙绝伦无需赘言——开场6/8拍节奏中攀升的音阶动机先声夺人，第二主题的附点节奏同样摄人心魄。
与第四交响曲前后洋溢的蓬勃乐思相比，该作品略显失色。开场小号动机缺乏预期特色，但三拍子的第二主题旋即翱翔云端。慢乐章开头对《唐豪瑟》朝圣者合唱的模仿近乎露骨，所幸后续变奏段颇具魅力。谐谑曲的欢快主题本可圈可点，却不幸让位于滥用钹声的浮夸进行曲中段。末乐章虽陷于节奏单调，至少包含一个标志性的动人插部，整部作品仍不乏难忘瞬间。
《第五交响曲》堪称神作，其音乐瞬间能让人共享圣徒般的至喜——对神经紧绷的现代人何其珍贵！这种狂喜催人泪下而非欢笑，其长期遭冷落实难理解。旧称"田园"虽与贝多芬同调且长笛运用（德沃夏克特色）相合，实则并不贴切。初听时瓦格纳回响扑面而来——开篇的"波西米亚森林絮语"，第二主题直接挪用《齐格弗里德》莱茵之旅——但1875年创作此作时，德沃夏克的音乐个性已完全成熟，每个小节都烙着专属印记。慢乐章之美冠绝全集，谐谑曲挥霍着欢腾主题，结构精妙的末乐章虽长却极富原创性。
若前几部交响曲可见瓦格纳身影，《第六交响曲》则清晰折射勃拉姆斯（尤其其第二交响曲）的影响。不仅主题形态，连首乐章布局都深得勃氏神髓；但克泰兹的演绎有力凸显了作品的独特性。这部与第五、第七交响曲共同构成德沃夏克交响曲核心的杰作，若非克泰兹赋予全新洞见，我们恐难有此认知。其诠释清新精准又充满戏剧张力，速度选择尤为精当。
《第七交响曲》作为德沃夏克最丰沛的灵感结晶，克泰兹呈现了张弛有度的演绎。黑胶版本略显平淡，CD重制后终与全集其他杰作比肩。那些萦绕心头的渴望主题在末乐章得到最震撼的呈现。
充满醉人旋律的《第八交响曲》是大众挚爱，克泰兹版本始终位列顶尖：鲜活、自然、激情四射。慢乐章柔情似水捕捉田园特质，优雅小快板的速度把控堪称典范。第三乐章弦乐翱翔的主题令人心潮澎湃，末乐章则迸发着色彩与激情的火花。
音乐厅与唱片界常青树《第九交响曲"自新大陆"》的盛名有时反让人忽视其天才本质。虽后世名版迭出，本版仍具不朽价值。克泰兹早年与维也纳爱乐的合作已属经典，但历经岁月沉淀后与伦敦交响乐团的这次录音，因包含首乐章呈示部重复（弥补了该乐章过短的结构缺陷）而更显完美。慢乐章中克泰兹的敏锐感知力展现得淋漓尽致——看似简单直白的处理下，乐队克制的演奏却传递出令人耳目一新的情感深度。末两乐章速度恰到好处（终章不过分急速），录音品质更属典范。
全集还收录了生动鲜活的《狂欢节序曲》《随想谐谑曲》，以及堪称教科书演绎的《我的故乡》音诗。克泰兹那些已绝版的双张德沃夏克音诗录音，至今仍是乐迷竞相寻觅的珍宝。
（源于DeepSeek翻译）
https://115cdn.com/s/sww7xa73hq9?password=3377&#
Dvorak - The Symphonies etc. - Istvan Kertesz, LSO [DECCA]
这套是我自抓，WAV格式。配套图片可以到下面的链接自己下载：
https://www.discogs.com/release/13470421-Dvo%C5%99%C3%A1k-London-Symphony-Orchestra-Istv%C3%A1n-Kert%C3%A9sz-The-Symphonies
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发表于 2025-6-28 12:41
