Wiener Philharmonic Orchestra, Myung-Whun Chung - Dvorák: Symphonies Nos. 6 & 8 (2000)

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Wiener Philharmonic Orchestra, Myung-Whun Chung - Dvorák: Symphonies Nos. 6 & 8 (2000)

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Myung-Whun Chung previously has proven his affinity for Dvorák on two occasions: an excellent recording of Symphonies Nos. 7 and 8 for BIS, and later with Symphonies 3 and 7 for Deutsche Grammophon. No, there’s nothing wrong with your computer screen: he’s already recorded Symphony No. 7 twice, and this disc gives us his second reading of No. 8, undoubtedly DG’s response to millions of fan letters sent to their offices by love-struck teenage girls threatening suicide unless Chung’s Vienna Dvorák cycle was allowed to continue. His recording of Symphonies Nos. 3 and 7 was never released domestically, by the way, leading us to speculate about what makes this disc more marketable than that one, assuming of course that such considerations have anything to do with DG’s decision to schedule a recording for domestic distribution.

That said, there’s only one thing wrong with this stunningly recorded and otherwise spectacularly well done pair of symphonies: Chung takes the scherzo of the Sixth Symphony too quickly. This blurs the clarity of the cross-rhythms, making the piece sound paradoxically less energetic and lighter than it should. Kubelik (also DG) is unbeatable here. In all other respects, particularly in the first movement, the symphony benefits from Chung’s brisk speeds and from the Vienna Philharmonic’s obvious joy in the music. The finale also offers thrills aplenty, the last few minutes providing a true sense of apotheosis. Even better, Chung’s way with the Eighth Symphony leaves nothing to be desired. He gives due consideration to the score’s superabundant lyricism and colorful instrumental writing, while at the same time encouraging his colleagues to play with more than their customary attention to rhythm. The third movement waltz is drop-dead gorgeous, and once again the finale sounds about as fine as it ever has: Chung’s firm grip makes a truly satisfying whole out of Dvorák’s loosely structured variation form. Okay, so we don’t exactly need new recordings of these symphonies, particularly given the excellence of the competition, but these performances certainly hold their own against the great versions of the past. Keep those cards and letters coming, girls!