The Schubert is the better known of the two string orchestra arrangements offered on Telarc’s novel and enterprising new release. Charles Rosekrans leads an opulent and fully convincing performance with the Royal Philharmonic strings. It’s quite thrilling to hear Schubert’s arresting opening fully fleshed out, with double bass supplying a heretofore unrealized bottom octave that both girds and anchors the ensemble sound (enhanced by Telarc’s wide-ranging recording). Rosekrans deftly handles the added weight by employing flowing tempos and lean, taut phrasing in the three fast movements. The Scherzo comes off best, its bold rocking melody sounding like a precursor to the scherzo of Bruckner’s Symphony No. 7, while in the famous Andante Rosekrans allows us to luxuriate in the contrasting timbres of Schubert’s brilliant variations, achieving an intimacy that belies the music’s expanded dimension.
The Dvorák is less successful. The “American” is one of the composer’s most vigorously athletic quartets, and its effect strongly depends on the sinewy textures of four solo instruments. The stirring opening of the first movement and the scherzo’s biting dance rhythms sound distinctly softened by the massed strings, while the slow movement initially takes on an oddly Italianate character. Nonetheless, thanks to Rosekrans’ perceptive and committed direction, the beauty and originality of Dvorák’s conception shines through. The same goes for the Schubert, making this disc an ideal acquisition for those seeking a fresh encounter with the familiar.
