Notes and Editorial Reviews
...In the Dvorak, for all the comfortable beauty of [Colin Davis's performance], I enjoy far more the leaner, more incisive view of Christopher Hogwood and the LPO. Textually his record of both of the Dvorak serenades is interesting in following the original versions, which in the work for strings makes for some significant differences, notably in the inclusion of two substantial passages in the first and third movements, which were missing from the first printed editions and have remained omitted ever since. I see that my 1955 Czech KLHU score prints them as an appendix, which makes it surprising that they have not, so far as I know, been included on record before. In the third movement scherzo at bar 153 you have 34 bars extending the
middle episode and including a viola solo repeating the theme, while at bar 85 in the finale this original version has an extra 79 bars presenting the movement's counter-subject for the first time rather plainly, before it is developed, as you usually hear it.
Quite apart from those and other textual points, these are freshly enjoyable readings of both works... With its original-version authenticity the issue provides Hogwood with a nicely discreet translation on record from being a pure period performance specialist, now that he is branching out (particularly in the United States) as a full orchestral conductor.
-- Edward Greenfield, Gramophone [5/1988]
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