I personally have 5 complete versions of this piece and the last version and sixth version I heard and saw over the internet was very special in that it was performed by the premiering Orchestra New York Philharmonic Orchestra under the baton of Lorin Maazel in Pyongyang, North Korea in 2008. The significance being that the New York Philharmonic Orchestra is the first foreign orchestra to perform in this very closed country. This sort of qualify it as being music diplomacy.
The live recording done in Pyongyang and widely telecasted and netcasted had almost 100% audience discipline with hardly any audience nuances like coughing etc audible and it might as well have been a studio recording as such. Normally, you sacrifice a bit of imperfections in live recordings for the added exuberances of the performing artist but this live recording could have been as cold if not colder than a studio recording. Perhaps it could be that the recording was done during winter or the political climate was not right. Lorin Maazel also did not seems to display a very involving performance himself. In fact, the conducting could be described as somewhat aloof and remote. Not the usual style of Maazel. Although the symphony is keyed in minor but it is no where near melancholy and does have colorful passages in terms of the native American folk music influence.
Chicago Symphonic Orchestra-I have two versions from this orchestra. An older recording under Fritz Reiner and the second recording being conducted by James Levine. Although the Reiner version being made in the 1950s suffered from higher noise floor, RCA did a good job in re-mastering it and the playing was also more melodic then dramatic compared with the later recording by James Levine with the same orchestra. Chicago was also the place where Dvorak spent most of his time whilst in America and it was also where he felt more welcomed compared to New York. Perhaps, there is less competition for the lime light as Chicago is a smaller city.
The other 3 recordings are made on the European continent where Dvorak was born. Witold Rowicki did an outstanding job leading the London Symphony Orchestra on this piece with the right amount of emotive highs and lows and the timpani playing is well accentuated on this piece but some have a different opinion as an over bearing out of control percussionist.
Neeme Jarvi lead the Royal Scottish Orchestra to a triumphant mood with very good brass and woodwind portions especially the french horn playing was very regal fitting of such a piece. The final recording by the Swedish National Orchestra lead by Thomas Dausgaard is most probably sonically the best sounding being one of the more recent recording enjoying better technology and it is also a very technically well framed by Dausgaard under his 'Opening Doors' range of recording done for BIS.
I am glad to have married music and politics by this article on my blog. Happy weekend.
Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye