Dvorak: Symphony No. 4 (8)
(with Scherzo Capriccioso)
Istvan Kertesz / The London Symphony Orchestra
Breughel and Antonin Dvorak go together like lager and pretzels. There’s a shared boisterousness about them, a sense of carnival goings-on and village revelries and that particular melancholy felt in summer fields at dusk. Dvorak was raised about 20 miles outside of Prague in what, for all intents and purposes, might as well have been a Breughel painting. Early on he got his license to be a butcher (now known to be a forgery!), and played violin for various communal events.
His 8th Symphony bursts with folk melodies and surprising key shifts. Within its first movement a cornucopia of alternating themes bustle along tidily. This is definitely one symphony that deserves the appellation of “pastoral, with barreling good nature in the allegretto grazioso and plangent strains in the adagio, which is loosely modeled on Beethoven’s “Eroica” Symphony.
Close in structure to his forthcoming “New World” Symphony, the 8th is full of warmth and nostalgia, until the propulsive final bars that are pure joviality. Announced with a galloping trumpet fanfare that slides down the scale–an invitation to dance rather a Germanic call to arms, as Rafael Kubelik described it–for the huge onrushing climax.
It’s arguably one of the tightest, most listenable symphonies in existence. And under Kertesz’s direction, the LSO gives a colorful, gregarious and overall exceptional performance.