Janáček’s Orchestral Masterpieces: Czech State Philharmonic’s Captivating Performances Under Serebrier

Composer: Leoš Janáček
Works: Sinfonietta (1924), Lachian Dances (1906), Taras Bulba (1928), The Cunning Little Vixen Suite (1924), Jealousy Prelude (1906), From The House of the Dead (1928), The Makropoulos Case (symphonic synthesis by José Serebrier)
Performers: Czech State Philharmonic, Brno / José Serebrier
Recording: CD1: 2-5 April 1995, Brno; CD2: 3-7 June 1996, Brno
Label: Reference Recordings RR-2103

Leoš Janáček, a titan of Czech music, continues to resonate in the concert hall and on recordings, yet his works often remain in the periphery of mainstream orchestral repertoire. This two-disc set, featuring the Czech State Philharmonic under José Serebrier, offers a compelling cross-section of Janáček’s orchestral output, showcasing works that range from the exuberant and celebratory to the introspective and poignant. The selections span nearly three decades of Janáček’s creative life, illustrating his distinctive voice shaped by the folk traditions of Moravia and the broader European musical landscape of the early 20th century.

The “Sinfonietta,” that resplendent orchestral showcase, opens with a fanfare-like exuberance that is both infectious and commanding. Serebrier’s interpretation captures the work’s vibrant energy, particularly through the incisive attacks of the brass and the buoyant woodwinds. The engineering quality is striking; the spatial depth allows the listener to appreciate the intricate interplay between the sections, with the trumpets soaring above the ensemble, creating a palpable sense of grandeur. Notably, the manic brass interjections at 3:51 in the third movement serve as a highlight, demonstrating the orchestra’s precision and vigor. This recording stands out as one of the finest available, with Serebrier achieving a balance that brings both clarity and richness to the soundscape.

In contrast, the “Lachian Dances” does not quite reach the same exalted heights. While the recording quality remains excellent, the music itself feels somewhat less inspired, leaving a sense of low voltage that dulls the visceral impact of the preceding work. The dances evoke a rustic charm, yet they lack the dramatic edge that characterizes Janáček’s more substantial compositions. The second dance, featuring a lovely horn section, offers moments of warmth, yet overall, the work feels more like an afterthought compared to the vibrant tapestry of the “Sinfonietta.”

“Taras Bulba,” on the other hand, shines with its compelling narrative and emotional depth. Serebrier adeptly navigates the work’s contrasting moods, from the introspective opening movement to the heroic, thrusting figures in the second. The brass, notably the trombones, deliver their lines with both power and poise, while the finale’s bell-like resonances evoke a sense of finality and transcendence. This interpretation reveals the rich textures and colors within the orchestration, making it an engaging listen that merits repeated hearings.

The second disc features a suite from “The Cunning Little Vixen,” which presents Janáček at his most lyrical and evocative. Here, Serebrier’s direction allows the orchestra to explore the delicate interplay of light and shadow that characterizes the opera. The concertmaster’s violin solo at 4:10 is particularly noteworthy, embodying the spirit of the woodland with its fluid grace. The atmosphere is one of magic and tragedy, contrasting sharply with the more jocular “Lachian Dances,” and demonstrating Janáček’s ability to convey profound emotional landscapes through orchestral color.

The additional pieces, including the “Jealousy Prelude” and the symphonic synthesis of “The Makropoulos Case,” further illustrate Janáček’s dramatic versatility. The “Jealousy Prelude” captures a sense of unrest, with yelping horns and swirling strings that evoke a thrilling tension. Serebrier’s ability to maintain clarity amidst the dense textures showcases his insightful interpretative choices, confirming his stature as a conductor deeply attuned to Janáček’s intentions.

This collection, expertly recorded and performed, stands as a vital addition to the Janáček discography. Reference Recordings has once again demonstrated its commitment to high-quality sound and nuanced interpretation, allowing both novice listeners and seasoned aficionados to appreciate Janáček’s vibrant orchestral palette. For those seeking to explore the rich emotional and sonic landscapes crafted by this remarkable composer, this two-disc set is an invaluable resource that succeeds in illuminating Janáček’s unique voice within the classical canon.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.