The search for "the" solo instrument of the 19th century leads inevitably to the piano. It has its place in the public concert hall as well as in the private salon, and not a few composers have emerged as successful pianists. Among the composers in this program, though, only Frédéric Chopin belongs to this group, but he soon changed his field of activity from the anonymous concert hall to the more intimate salon circle. Antonìn Dvorák, on the other hand, passed the organists' examination and was at first employed as violist in an orchestra, while Tchaikovsky was much too reclusive to interpret his own works in front of an audience. Among the selected works by Dvorák, Chopin and Tchaikovsky, only the Dvorák piano concerto requires a large concert hall, while the solo pieces by Chopin and Tchaikovsky were originally at home in the salon…
The London symphonies, sometimes called the Salomon symphonies after the man who introduced London to Joseph Haydn, were composed by Joseph Haydn between 1791 and 1795. They can be categorized into two groups: Symphonies No.93 through 98, which were composed during Haydn's first visit to London, and Symphonies No.99 through 104, composed in Vienna and London for Haydn's second London visit.
Supraphon's first-rate sonics also distinguish this, the most consistently excellent of all complete Dvorák symphony cycles, from the rest of the pack. - David Hurwitz
The late Mstislav Rostropovich and Seiji Ozawa deliver probably the greatest digital recording of the Dvorak concerto. For those familiar with the analog Karajan/Rostropovich recording, this digital recording finds the soloist creating a similar impression married with a more supportive Ozawa and the Boston Symphony. Karajan's creamy string sound and often overly-dramatic stylization is replaced here by Ozawa's stricter approach; his handling of the orchestra is masterful in this taught, precise reading. The legendary Boston Symphony responds resplendently and, although they may not highlight the rustic Czech idiom of this music, they certainly bring much charm, warmth, and expected musicality to the accompaniment. But enough about the orchestra - on to Rostropovich.