The Dohnanyi recording really is stunning. The Cleveland Orchestra plays with complete polish and a sumptuously rich tone. And it’s exciting where it needs to be. Gorgeous playing.
Great recommendations. Something struck me, when you mentioned how much of a joy it was just to listen to this symphony multiple times for the review. For me that that is what makes Dvorak remarkable - his compostions are so unaffected and direct you never tire of hearing them. Actually I had bit of a Dvorak binge after this - the Serenade for Strings, the String Quartet No.9 (a beautiful work) and the unjustly neglected Wind Serenade. Thanks for reminding me how great Dvorak really is!
This is, IMHO, hands-down, the greatest symphony of the 19th century. I absolutely adore it and I am so grateful to have come across this review. I did not know the Flor recording and having just played it through, it has just knocked me out. I have never heard that cataclysmic wrench from minor to an almost unbelievable major at the very end done better. Flor is totally in alignment with how I feel about this work and the lithe clarity of the Malaysian orchestra and the recording really add to the overall effect. Thank you so very much for sending me down this path. Of course, I agree with many of the other selections too. Dohnanyi is utterly fabulous.
Hi Dave, I would like to point out a very important execution in my opinion. I am referring to Dvořák's 7th Symphony conducted by Myung-Whun Chung! There you really find everything, the right orchestral color, the agogic and dynamic indications of the score, without neglecting the great interpretative impetus. I really like all the instrumental turbulence so well highlighted in the extreme movements, just as I like the great lyricism and the sonic beauty of the central movements.
I'd say this is not just one of Dvorak's greatest (I think it is the one) but one of the all-time great symphonies - perfect in design and the way one movement organically flows to the next. Right up there or close to IMO - the Beethoven 9 and 3, Mahler 9 (the greatest human protest against death imo), Brahms 4 (very similar to Dvorak 7 in design and organic flow imo) and Mozart 25 (whose 1st movement was used in Amadeus). And the third movement (scherzo) is one of the most beautiful symphonic movements ever written, imo.
You nailed this one. I love this work so much and you spotlighted all my favorite versions, those being RCO/Davis, LSO Monteux, and CPO/Neumann. This was the first Dvorak Symphony I heard, but fortunately I heard Slatkin conduct the 6th on the radio shortly thereafter and so I realized early that there are more than the last 3 greats. When I was in High School I thought Giulini was the be-all and end-all in the work, but as I matured I realized that was not the case, unless you like your 7th on the heavy side. As you alluded to, a nice flow is needed in the work. The Neumann digital is great with that, and when you factor in the beautifully distinctive orchestra playing it is enough to make me salivate!
Goodness, what a fun video. Enthusiasm without having to put down anyone’s cherished favorite. I love your attitude and look forward to getting to know Dvorak better. BTW, I just ordered Dohnanyi’s Stravinsky and Bartok on your recommendation!
Thanks for another great session. I love the Concertgebouw/Davis and the Monteux/LSO. For some strange reason, it was the last Dvorak symphony I got to know. I heard the first ones like "The Bells of Zionice" much earlier.
Started listening to the Levine/RCA 7th and my goodness the ending of that first movement is like a freight train. I can already tell is going alongside the Dohnanyi recording. Thanks sir!
As commented on the video re: Dvorak 8... A notable absentee here is Antal Dorati. His 7 and 8 with the LSO are brilliant. Harnoncourt and the Concertgebouw are worth a mention too. They bring something different to the last three symphonies and are worth investigating.
I came here looking for other versions of it to listen to, because for the past 7 or so years I only listened to Bernstein's with the NY Philharmonic in the 60s. Became very excited when you said "this is the dvorak death album" and it really is wonderful!!!!
I was waiting for Dohnanyi and Monteux! If I could include a DVD performance, I would add Gardiner with Royal Stockholm Philharmonic. Also a great performance!
I forgot to mention before the Zdenek Macal/Czech Phil recording on Exton. I do not know why this one slipped my mind, as I find it a wonderful recording. If the orchestra does not quite sound like the Czech Phil of yesteryear, it's pretty dawg gone close. The 7th is coupled with the 3rd on the disc, and the #3 recording is very special. The drawback is that Exton cd's have always been hard to find as well as expensive.
I enjoyed the Dvorak set of symphonies 6 to 9 that Marin Alsop conducted with the Baltimore Symphony on Naxos. Thanks for all of the great videos and recommendations, Dave!
Dear Mr. Hurwitz: again in complete agreement! I "learned" the Seventh in the old Kubelik/Philharmonia, 1951 recording which still sounds very good! I own most of your recommendations and would endorse the Dohnanyi without reservation! I would add the Czech Philharmonic with Karel Sejna (1951) and Belohlavek to your list. Now, you'll need to go through all the Dvorak Symphonies in due time. Nros 1-4 may not be great but they are really lovely. Thanks again!
Agree Dohnanyi is wonderful in Dvorak and I can never get enough of his music, but he composed more than 3 symphonies, as you indicated. 6 gets performed and recorded now more often and 5 occasionally too. But what about 3 and 4? Both deserve to be heard! I have Rowicki’s exciting versions of 4-6 and they are terrific. I also take advantage of Naxos’ free downloads and recently downloaded 3 and 4 with Karel Mark Chichon (Who, you may ask?!) and the Deutsche Radio Philharmonia Saarbrucken Kaiserslautern (quite a mouthful) on SWR and they are also wonderful performances. It’s fun to hear Dvorak “borrowing” from Berlioz’ Romeo and Juliet’s love music in the Third’s slow movement and Wagner’s Tristan in the slow movement of No. 4. But he does it so well, so naturally, and it all sounds like pure Dvorak.
I have fallen in love with the 3rd symphony, especially the mystery in the slow movement you mentioned. It is a neglected masterpiece, though I have not taken much to the last movement yet.
Another version that I think is quite good indeed is the Marriner/Minnesota version from 1981 on Philips. This one has always been off the radar, and I don't even think it has ever been reissued. Good sound and not a step wrong anywhere in my view. I pulled this recording off the shelf today along with another Marriner recording from the same vintage, his Ravel Bolero from Dresden, which is a RIP-roaring good time. I was overdue to give Marriner some love, so now I'm good for a while
Regarding the brassing-up at the end, the melody in the seconds is also in clarinets (in the register ideal for fortissimo) and oboes (in the register where you start losing them). I've heard it in the original, and I think Dave's suggestion of "Schalltricher auf" in the first movement might work here. It's only a couple of bars that are different before the written horn part joins the winds. There's a belief among some brass players that it may have originated with Szell. It's done in so many different ways on recordings (and check RUclips), some using extra trumpets and horns! More than one horn is too much; Dvořák knew what he was doing.
Couldn't agree with you more about current young conductors learning from the old timers of the age. I think of Bruno Walter's Dvorak 8, he was weaned on this music in Mitteleuropa. I heard a recent live broadcast from Philly- not a clue.
One of the greatest performance of the 7th IS by sir Colin davis but for me it's with the LSO in the 2001 recording. He also did a great job on the 6th symphony of the same lable. I never cared for the 6th until I heard that recording.
Hi David, Complete agreement about how Neumann does the 7th. Have you heard his analog version with the Czechs on Supraphon done in the early 70s? It's an intense, passionate and dark reading and I have thought the same about it...one of the very greatest recordings from Neumann. Beautiful, naturally spacious sound balance too. If you know it, what's your opinion? Tom S.
I won't claim this is his "greatest" after your introduction, but it is the one I want to listen to when I think of Dvorak symphonies. Monteux, Szell, and Levine have been my favorites, but I'll now have to try Dohnanyi. Where I offer dissent is on Colin Davis. I HATE it. The whole "swing" (Slavonic dance element?) seems missing. Is he trying to play Brahms? Too stiff for me, anyway. Thanks for this analysis!
David, I have one word for you, and, you aren't going to like it - Gunzenhauser. His disc of 5 and 7 is in a different league to the rest of his cycle, which I agree is rather ordinary. His seventh has mystery, rhythm, and, intelligence. He nails the acceleration in the first movement coda, and handles beautifully the growing swell of the slow movement, crucially observing to play the initial tune as blandly as possible (even Neumann-digital can't resist trying to milk it for sentiment which is the wrong approach, when the sentiment music follows it.) Scherzo at a fabulous and slightly daring, spacious pace, trio of primordial fog, and totally committed finale. Nothing bad about the performance to these, amateur ears. And, the fifth that supports it is of a freshness unparalleled by lots of more 'sophisticated' orchestras.
Why would I not like it? I reviewed this cycle, largely favorably, decades ago for Fanfare Magazine. There are some fine performances in it, even if the orchestra is second rate.
I have been getting to know Dvorak recently via the Kubelik Berlin Philharmonic box. I haven’t listened to the 7th yet, and I’m not sure if it’s a better idea to pass in favor of one of those you’ve mentioned here, or go ahead with Kubelik and compare later. More generally, when one has access to a good (but not exceptional) recording, would it be better to wait and imprint on a greater one?
Agree heartily with the Ormandy recommendation! Also great for 8 & 9 (RCA Japan) all of which will hopefully be in the Ormandy stereo sets forthcoming.
What's your take on the Talich version from the 1930s? I've seen it highly recommended but I'm always a little sceptical of these supposed classic old recordings.
David - Great recommendations! Dohnanyi's 7th is amazing, but digital Neumann is my favorite...from the second it starts and you hear that timpani roll, you just know it's going to be a wild ride. What are your thoughts on Bernstein with New York? I stumbled upon it and gave it a listen. I LOVE it...except for his decision on the Scherzo's main theme. Tempo might not be everything, but to me it matters in that Scherzo and I think Bernstein just ruins it.
Again, pretty much in agreement with you here. My current "go-to" recording is Davis, but I also have and like Szell, Neumann, Levine, and Dohnanyi. Have not heard Harnoncourt, Ormandy or Bernstein/NYPO, which I am curious about. I also have Kubelik/BPO and Kertesz/LSO,enjoyable but not quite in the top tier. An older recording that I rather like is Carlos Paita on the Lodia label. Not sure if this is still available. Any thoughts on the Paita and Bernstein recordings?
Bernstein is first rate and, as I said above, could have made the cut. The Paita is also very exciting (if a tad unsubtle). I have it, but as you say, its whereabouts are currently unknown, so...
In my humble opinion I think that Dvořák Symphonies in general are better than Brahms' symphonies. That said, the 7th is the most "brahmsian" according to many scholars. I don't understand why: Dvořák is completely different from Brahms. The 7th is darker, dramatic, full of slavic passion but at the same time has its roots in classical principles...also Tchaikovsky's symphonies are equally rooted in these principles, but no scholars defined them as "brahmsian"...in fact Dvořák is more akin to Tchaikovsky than Brahms and is true that Dvořák was a fan of Brahms but is also true that Brahms was a sincere admirer of Dvořák...sorry for the digression. Anyway, I'm very curious about Ormandy's recording...what do you think about Karajan's 7th for Warner and Alsop's Seventh for Naxos?
You have reason! I made a mistake: Karajan made an 8th. He never recorded a 7th. Confusion mistake...sorry...anyway I like also the 7th by Gunzenhauser always for Naxos and Kubelik for DG...lovely!
I think Suitner is exceptional, but, I hate what he does with the finale's codetta. Those couple of bars ruin it for me. That final statement really is a comment on the entire rest of the symphony, and I don't think Suitner does his own excellence justice with it.
Just listened to Dohnanyi's which I haven't heard for a while. I found it too straight. I'm not saying it is a bad performance, it is superb, but it makes me think I prefer those performances where conductors really pull the score about and make their mark on it...
@@joewebb1983 Or the Carlos Païta Lodia CD which carries an immediate emotional punch upon first listen, and has been engineered with a huge dynamic range.
I'm glad to hear that the Ormandy is good. It was the first recording of D7 I ever heard - on the fm radio. As always, I like all your choices. I'm rather fond of Previn/L.A. Phil (Telarc). I thought it was among the best things Previn did in L.A. I'd be curious to know your thoughts on that one.
Like your choices generally here - Davis' interpretation is great, but Szell's reputation is founded and Dohnanyi reflects many of the symptoms you often criticize - he is the stiff one in this performance. Neumann, Szell.
The Dohnanyi recording really is stunning. The Cleveland Orchestra plays with complete polish and a sumptuously rich tone. And it’s exciting where it needs to be. Gorgeous playing.
Great recommendations. Something struck me, when you mentioned how much of a joy it was just to listen to this symphony multiple times for the review. For me that that is what makes Dvorak remarkable - his compostions are so unaffected and direct you never tire of hearing them. Actually I had bit of a Dvorak binge after this - the Serenade for Strings, the String Quartet No.9 (a beautiful work) and the unjustly neglected Wind Serenade. Thanks for reminding me how great Dvorak really is!
This is, IMHO, hands-down, the greatest symphony of the 19th century. I absolutely adore it and I am so grateful to have come across this review. I did not know the Flor recording and having just played it through, it has just knocked me out. I have never heard that cataclysmic wrench from minor to an almost unbelievable major at the very end done better. Flor is totally in alignment with how I feel about this work and the lithe clarity of the Malaysian orchestra and the recording really add to the overall effect. Thank you so very much for sending me down this path. Of course, I agree with many of the other selections too. Dohnanyi is utterly fabulous.
Thanks for listening!
Hi Dave, I would like to point out a very important execution in my opinion. I am referring to Dvořák's 7th Symphony conducted by Myung-Whun Chung! There you really find everything, the right orchestral color, the agogic and dynamic indications of the score, without neglecting the great interpretative impetus. I really like all the instrumental turbulence so well highlighted in the extreme movements, just as I like the great lyricism and the sonic beauty of the central movements.
Yes, a very good performance.
I'd say this is not just one of Dvorak's greatest (I think it is the one) but one of the all-time great symphonies - perfect in design and the way one movement organically flows to the next. Right up there or close to IMO - the Beethoven 9 and 3, Mahler 9 (the greatest human protest against death imo), Brahms 4 (very similar to Dvorak 7 in design and organic flow imo) and Mozart 25 (whose 1st movement was used in Amadeus). And the third movement (scherzo) is one of the most beautiful symphonic movements ever written, imo.
My gosh who knew the Flor/Malaysian Phil would be such a marvel... what a discovery! Thanks Dave... love from neighbouring Singapore :)
You nailed this one. I love this work so much and you spotlighted all my favorite versions, those being RCO/Davis, LSO Monteux, and CPO/Neumann.
This was the first Dvorak Symphony I heard, but fortunately I heard Slatkin conduct the 6th on the radio shortly thereafter and so I realized early that there are more than the last 3 greats.
When I was in High School I thought Giulini was the be-all and end-all in the work, but as I matured I realized that was not the case, unless you like your 7th on the heavy side. As you alluded to, a nice flow is needed in the work. The Neumann digital is great with that, and when you factor in the beautifully distinctive orchestra playing it is enough to make me salivate!
Thank you for the recommendations. I find the Monteux/LSO performance captivating and thrilling.
That Dohnanyi set is such a gem. One of my earliest acquisitions, and most prized. I wish that he'd done a complete cycle!
Me too!
Dohnanyi did a 6th with Cleveland later on, but I have never heard it.
jfddoc It’s just the best
@@jfddoc Have it. Heard it. It is predictably first rate!
@@olegroslak852 Good! Will put it on my list.
Goodness, what a fun video. Enthusiasm without having to put down anyone’s cherished favorite. I love your attitude and look forward to getting to know Dvorak better. BTW, I just ordered Dohnanyi’s Stravinsky and Bartok on your recommendation!
Thank you. Please let me know what you think.
Thanks for another great session. I love the Concertgebouw/Davis and the Monteux/LSO. For some strange reason, it was the last Dvorak symphony I got to know. I heard the first ones like "The Bells of Zionice" much earlier.
Started listening to the Levine/RCA 7th and my goodness the ending of that first movement is like a freight train. I can already tell is going alongside the Dohnanyi recording. Thanks sir!
So many great performances. Thanks for the great overview. I'd also add either of Mackerras's (LPO and Philharmonia) recordings.
I'd usually add the Mackerras anything...just take it as a given!
As commented on the video re: Dvorak 8... A notable absentee here is Antal Dorati. His 7 and 8 with the LSO are brilliant.
Harnoncourt and the Concertgebouw are worth a mention too. They bring something different to the last three symphonies and are worth investigating.
Yes, I did recommend Haroncourt. Dorati is great in 8, but in 7, not so much in my opinion. Another case where he "goes German."
I came here looking for other versions of it to listen to, because for the past 7 or so years I only listened to Bernstein's with the NY Philharmonic in the 60s. Became very excited when you said "this is the dvorak death album" and it really is wonderful!!!!
David, you and your videos are a treasure. I try to view at least one a day.
Thank you!
I was waiting for Dohnanyi and Monteux! If I could include a DVD performance, I would add Gardiner with Royal Stockholm Philharmonic. Also a great performance!
Good recommendations. (Surprised about the Flor.) I would have included Chung's gripping performance with Vienna Philharmonic.
I forgot to mention before the Zdenek Macal/Czech Phil recording on Exton. I do not know why this one slipped my mind, as I find it a wonderful recording. If the orchestra does not quite sound like the Czech Phil of yesteryear, it's pretty dawg gone close. The 7th is coupled with the 3rd on the disc, and the #3 recording is very special. The drawback is that Exton cd's have always been hard to find as well as expensive.
I enjoyed the Dvorak set of symphonies 6 to 9 that Marin Alsop conducted with the Baltimore Symphony on Naxos. Thanks for all of the great videos and recommendations, Dave!
My pleasure!
Dear Mr. Hurwitz: again in complete agreement! I "learned" the Seventh in the old Kubelik/Philharmonia, 1951 recording which still sounds very good! I own most of your recommendations and would endorse the Dohnanyi without reservation! I would add the Czech Philharmonic with Karel Sejna (1951) and Belohlavek to your list. Now, you'll need to go through all the Dvorak Symphonies in due time. Nros 1-4 may not be great but they are really lovely. Thanks again!
I have all of them and they are indeed all great choices.
Agree Dohnanyi is wonderful in Dvorak and I can never get enough of his music, but he composed more than 3 symphonies, as you indicated. 6 gets performed and recorded now more often and 5 occasionally too. But what about 3 and 4? Both deserve to be heard! I have Rowicki’s exciting versions of 4-6 and they are terrific. I also take advantage of Naxos’ free downloads and recently downloaded 3 and 4 with Karel Mark Chichon (Who, you may ask?!) and the Deutsche Radio Philharmonia Saarbrucken Kaiserslautern (quite a mouthful) on SWR and they are also wonderful performances. It’s fun to hear Dvorak “borrowing” from Berlioz’ Romeo and Juliet’s love music in the Third’s slow movement and Wagner’s Tristan in the slow movement of No. 4. But he does it so well, so naturally, and it all sounds like pure Dvorak.
I have fallen in love with the 3rd symphony, especially the mystery in the slow movement you mentioned.
It is a neglected masterpiece, though I have not taken much to the last movement yet.
Another version that I think is quite good indeed is the Marriner/Minnesota version from 1981 on Philips. This one has always been off the radar, and I don't even think it has ever been reissued. Good sound and not a step wrong anywhere in my view.
I pulled this recording off the shelf today along with another Marriner recording from the same vintage, his Ravel Bolero from Dresden, which is a RIP-roaring good time. I was overdue to give Marriner some love, so now I'm good for a while
Oh no, that one is really poorly done. One thing I have learned is that there is no recording bad enough that someone somewhere doesn't like it.
@@DavesClassicalGuide The Dvorak? I don't think so at all!! To each their own!!!
Regarding the brassing-up at the end, the melody in the seconds is also in clarinets (in the register ideal for fortissimo) and oboes (in the register where you start losing them). I've heard it in the original, and I think Dave's suggestion of "Schalltricher auf" in the first movement might work here. It's only a couple of bars that are different before the written horn part joins the winds.
There's a belief among some brass players that it may have originated with Szell. It's done in so many different ways on recordings (and check RUclips), some using extra trumpets and horns! More than one horn is too much; Dvořák knew what he was doing.
Couldn't agree with you more about current young conductors learning from the old timers of the age. I think of Bruno Walter's Dvorak 8, he was weaned on this music in Mitteleuropa. I heard a recent live broadcast from Philly- not a clue.
One of the greatest performance of the 7th IS by sir Colin davis but for me it's with the LSO in the 2001 recording. He also did a great job on the 6th symphony of the same lable. I never cared for the 6th until I heard that recording.
7:37 what are the books he has behind him?
Hi David, Complete agreement about how Neumann does the 7th. Have you heard his analog version with the Czechs on Supraphon done in the early 70s? It's an intense, passionate and dark reading and I have thought the same about it...one of the very greatest recordings from Neumann. Beautiful, naturally spacious sound balance too. If you know it, what's your opinion? Tom S.
I have that earlier cycle, and I agree with you completely.
All of my own favorites - even Ormandy! Sawallisch isn't bad, though.
What about the Carlos Paita recording on Lodia that Ivan March loved so much? Great channel, by the way?
What about it?
@@DavesClassicalGuide - I’ve never heard the Paita recording and wanted to know what your expert opinion of it was. Much thanks.
@@irawong It's very exciting, and very well recorded.
I won't claim this is his "greatest" after your introduction, but it is the one I want to listen to when I think of Dvorak symphonies. Monteux, Szell, and Levine have been my favorites, but I'll now have to try Dohnanyi. Where I offer dissent is on Colin Davis. I HATE it. The whole "swing" (Slavonic dance element?) seems missing. Is he trying to play Brahms? Too stiff for me, anyway. Thanks for this analysis!
David, I have one word for you, and, you aren't going to like it - Gunzenhauser. His disc of 5 and 7 is in a different league to the rest of his cycle, which I agree is rather ordinary. His seventh has mystery, rhythm, and, intelligence. He nails the acceleration in the first movement coda, and handles beautifully the growing swell of the slow movement, crucially observing to play the initial tune as blandly as possible (even Neumann-digital can't resist trying to milk it for sentiment which is the wrong approach, when the sentiment music follows it.)
Scherzo at a fabulous and slightly daring, spacious pace, trio of primordial fog, and totally committed finale. Nothing bad about the performance to these, amateur ears. And, the fifth that supports it is of a freshness unparalleled by lots of more 'sophisticated' orchestras.
Why would I not like it? I reviewed this cycle, largely favorably, decades ago for Fanfare Magazine. There are some fine performances in it, even if the orchestra is second rate.
@@DavesClassicalGuide really? Then I stand corrected! Time to order some of your books.
I have been getting to know Dvorak recently via the Kubelik Berlin Philharmonic box. I haven’t listened to the 7th yet, and I’m not sure if it’s a better idea to pass in favor of one of those you’ve mentioned here, or go ahead with Kubelik and compare later. More generally, when one has access to a good (but not exceptional) recording, would it be better to wait and imprint on a greater one?
It's never necessary to wait. Just listen and compare.
@@DavesClassicalGuide Thank you for your advice. I am so glad to have found your channel. Learning from you has become part of my daily activities.
Agree heartily with the Ormandy recommendation! Also great for 8 & 9 (RCA Japan) all of which will hopefully be in the Ormandy stereo sets forthcoming.
What's your take on the Talich version from the 1930s? I've seen it highly recommended but I'm always a little sceptical of these supposed classic old recordings.
You should be. No one needs it.
David, there is also a lot to be said for the (revised) Dvorak Second too.
Of course, especially Suitner in the third movement. Wow!
David - Great recommendations! Dohnanyi's 7th is amazing, but digital Neumann is my favorite...from the second it starts and you hear that timpani roll, you just know it's going to be a wild ride. What are your thoughts on Bernstein with New York? I stumbled upon it and gave it a listen. I LOVE it...except for his decision on the Scherzo's main theme. Tempo might not be everything, but to me it matters in that Scherzo and I think Bernstein just ruins it.
I like it very much.
Again, pretty much in agreement with you here. My current "go-to" recording is Davis, but I also have and like Szell, Neumann, Levine, and Dohnanyi. Have not heard Harnoncourt, Ormandy or Bernstein/NYPO, which I am curious about. I also have Kubelik/BPO and Kertesz/LSO,enjoyable but not quite in the top tier. An older recording that I rather like is Carlos Paita on the Lodia label. Not sure if this is still available. Any thoughts on the Paita and Bernstein recordings?
Bernstein is first rate and, as I said above, could have made the cut. The Paita is also very exciting (if a tad unsubtle). I have it, but as you say, its whereabouts are currently unknown, so...
@@DavesClassicalGuide Interesting. I found the Bernstein to be on the dreary side. One of his least appealing recordings.
Levine is very good. The clear timpani playing makes me appreciate it more.
In my humble opinion I think that Dvořák Symphonies in general are better than Brahms' symphonies. That said, the 7th is the most "brahmsian" according to many scholars. I don't understand why: Dvořák is completely different from Brahms. The 7th is darker, dramatic, full of slavic passion but at the same time has its roots in classical principles...also Tchaikovsky's symphonies are equally rooted in these principles, but no scholars defined them as "brahmsian"...in fact Dvořák is more akin to Tchaikovsky than Brahms and is true that Dvořák was a fan of Brahms but is also true that Brahms was a sincere admirer of Dvořák...sorry for the digression. Anyway, I'm very curious about Ormandy's recording...what do you think about Karajan's 7th for Warner and Alsop's Seventh for Naxos?
Karajan did a 7th? Where have I been? As for Alsop: www.classicstoday.com/review/review-15471/?search=1.
You have reason! I made a mistake: Karajan made an 8th. He never recorded a 7th. Confusion mistake...sorry...anyway I like also the 7th by Gunzenhauser always for Naxos and Kubelik for DG...lovely!
@@DavesClassicalGuide Very Good. Thank you for the link on Alsop!
What do you think of John Eliot Gardner's conducting of Dvorak's 7th symphony?
There is one? 😲 David may not reply, but, I'll check it out. 👍
This is my favorite too! The recording quality is not good but the tempo is the most suitable
Dave there is also a digital copy of Dvorak/Dohnanyi besides the one you showed, which one would you recommend?
Digits are digits.
@@DavesClassicalGuide Forgive my ignorance, digital no real difference?
Great survey again.Do you like Suitners version? Wishing you 1000 subs till end of the week 😊
Yes, I do like Suitner.
I think Suitner is exceptional, but, I hate what he does with the finale's codetta. Those couple of bars ruin it for me. That final statement really is a comment on the entire rest of the symphony, and I don't think Suitner does his own excellence justice with it.
Just listened to Dohnanyi's which I haven't heard for a while. I found it too straight. I'm not saying it is a bad performance, it is superb, but it makes me think I prefer those performances where conductors really pull the score about and make their mark on it...
Fair enough, but I wouldn't say Dohnanyi doesn't make his mark on it--he just doesn't pull it about.
@@DavesClassicalGuide yes indeed. I find myself drawn to performances like Iván Fischer's instead
@@joewebb1983 Or the Carlos Païta Lodia CD which carries an immediate emotional punch upon first listen, and has been engineered with a huge dynamic range.
@@Paul-gl6wq 💯 a fine mini-cycle of the last three!
I'm glad to hear that the Ormandy is good. It was the first recording of D7 I ever heard - on the fm radio. As always, I like all your choices. I'm rather fond of Previn/L.A. Phil (Telarc). I thought it was among the best things Previn did in L.A. I'd be curious to know your thoughts on that one.
I agree that it's very good--I was thinking about adding to to the pile, but as always the pile got bigger faster than expected and, well, you know...
what about Constantine Silvestri?
What about him.
@@DavesClassicalGuide about his performance.
@@rezabahani7437 Sorry, but some other time.
Like your choices generally here - Davis' interpretation is great, but Szell's reputation is founded and Dohnanyi reflects many of the symptoms you often criticize - he is the stiff one in this performance. Neumann, Szell.
I find your lack of Jiří Bělohlávek most disturbing...
You'll get over it.
Jiri is not very enticing. I have to admit it is somewhat disappointing.
I think his earlier recording on Chandos is good - but Pesek is better, a great version I think.