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Orchestra Digs Up Aggressive Dvorak

Orchestral sonorities that are normally string-dominated shared the sound picture more equally with brass and winds. Strings were tougher, the Philadelphia sound giving way more to something more like the Berlin Philharmonic, allowing a more aggressive manner within the orchestra. The symphony's second movement volleys back and forth among a number of orchestral choirs, and at times the strings behaved in a way suggesting that they were out-shouting the other sections. Elsewhere, attacks had a sharper edge, although the more reflective islands of music in the finale became so absorbing as to feel like movements unto themselves. The greater prominence of the brass also meant, on the downside, that certain things that should be more felt than heard (because they're about the symphony's mechanics) were more apparent and sometimes made the performance a bit ham-fisted. Obviously, Hrusa couldn't have achieved this without an intimate knowledge of the piece (not to mention ethnic authority, with a composer of his own nationality).
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