These two discs make a worthy conclusion to Stephen Gunzenhauser's Dvorak cycle, digitally recorded in the Reduta Concert Hall in Bratislava. The acoustics of the hall seem admirably suited to this music; textures are warm, yet detail is clear, more so than in the Jarvi Chandos series, and the sound overall is fuller and obviously more modern than that of the Kertesz/Decca set, where the symphonies ((CD) 430 046-2DC6, 4/92) are not available separately.

I think if Dvorak knew his First Symphony was being regularly played he would not have been entirely happy, for undoubtedly had he revised it, it would have been a wholly different work, and probably shorter. Gunzenhauser makes the very best of the repetitive rhythmic ideas of the outer movements and although he is perhaps a shade more rhythmically plainspun than Kertesz, in the first movement he eases the second subject in very nicely and the lolloping theme of the third movement Allegretto has much folksy charm. The orchestral playing is alert and alive throughout and its concentration allows a very spacious, flowing account of the Adagio, probably the finest movement.

The composer did have the opportunity to revise and shorten the Second Symphony, but it remains as long as the First, and needs a strong forward motivation which it certainly receives here. Indeed, the first movement, which has much attractive invention after its slow opening, where Gunzenhauser immediately grips the listener's attention, has striking impulse. As in the First Symphony the Adagio is taken warmly and spaciously, with its pastoral serenity glowingly appealing. The closing section is particularly beautiful (and remarkably mature). Here (around 11'30") a melancholy chorale is decorated daintily by the woodwind before a bald interruption, the first of several; then the melody resumes its course to its gentle conclusion. The Scherzo opens hesi- tantly then produces some delightful ideas, lyrical as well as sparkling, and is splendidly played, with real Slovak fervour. What is so good about the Naxos recording is that it is full enough to provide the necessary warmth, yet the tangy Czech flavour of the scoring is not lost. The finale is an infinitely better movement than its companion in the First Symphony, perhaps because of Dvorak's cuts, but also because its ideas (notably the secondary theme) are much more engaging and memorable.