The weird coupling speaks for itself, while the short playing time is a further disincentive to prospective buyers. What about the actual performances? Well, the Gershwin is lightly sprung, which is good, but still rhythmically lacking in crispness and just a touch too slow. The Dvorák, though, is far worse. Any performance that goes beyond about 32 minutes is in trouble; the finale here lasts nearly 11, which precludes anything like the necessary dance-like vitality. But the real kiss of death comes from the engineers. Technically this SACD features multi-channel sonics, but in any format the players sound like they were recorded in an empty stadium, or perhaps an aircraft hangar. The result is soggy, soft-edged, and murky. Under those circumstances, it’s difficult to speak to the specifics of Liza Ferschtman’s work as soloist. A thoroughly unpleasant release.
