‪Otakar Jeremiáš‬. Dvořák: Symphony No. 9 (Esta, 1940s)

I’ve had this on my “to do” list for over two years now!  My friend Tobias posted this about four years ago in mp3 format, and I asked if I might have a “go at it”, so he generously sent me single side dubs which I’ve only now prepared.  So, a belated thank you to Tobias!

Here is another affectionate but not saccharine, easy-going but not dull, superbly idiomatic performance from Jeremiáš‬, who is a favorite of mine (see these other posts).  Perhaps it won’t leave one wanting to part with the various Talich versions, but I think you’ll enjoy this on it’s own terms.  The trio to the Scherzo movement has just the right kind of subtle “lift” to the rhythm, something seemingly captured with ease by so many Czech musicians, but not easily exported to many outside of the borders of Dvořák’s homeland.

Dvořák: Symphony No. 9 in E Minor
“From the New World”, Op. 95, B. 178

Otakar Jeremiáš, Conductor
Orchestr Národního divadla v Praze 
(Prague National Theatre Orchestra)
Esta H 5077/81 
Matr. BIEM 4357-63; 4365-6; 4374
Recorded in the 1940s


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11 Responses to ‪Otakar Jeremiáš‬. Dvořák: Symphony No. 9 (Esta, 1940s)

  1. Neal – Thanks so very much for this. I have only 3 of the discs and have always wanted to hear the entire recording. Wonderful playing. My other Esta desire is the Smetana Ma Vlast with Jirak conducting. I only have 2 discs of that set. All best and a million thanks!

    Alan Carrier

    • Jarba says:

      Hallo Alan! Take a many greetings from the Czech republic. If you want to download the complete Jirák’s version of Má vlast, please write me at j.babel*seznam.cz (*…@). Please, use very simple English 🙂 Jarba

  2. Fred says:


    Real winner here. I love that tangy Czech woodwind sound!



  3. tatifan says:

    Yes! I’ve listened a couple of more times in the car over the past several days, and I like this more and more! Glad you’re enjoying it as well!

    I haven’t found that Jirak Ma Vlast, but I’ll keep my eyes open.

  4. Hello, may I say that your fantastic posts have enabled me to enjoy much of these great recordings which I otherwise might not be able to find, afford or even hear about. Further I appreciate your trying to achieve quality transfers without degrading filtering, revisionistic processing and such. Thank you so much.

    This performance strikes me very differently from any I’ve heard (all rather more recent) and the (to me) fresh take was illuminating. Thank you! The comments also mention Smetana’s Ma Vlast and I’d like to add a comment that I’m still enamoured with the Van Beinum Die Moldau on Decca you posted years back (any chance of it in lossless?).

    I’ve added your blog entries and comments to my RSS reader so I should get any updates and responses. Would it help to post here or email you if I chance on any broken links / links to files that have ceased to be?

    • tatifan says:

      Thanks for the kind words! Certainly, this is a good place to let me know of broken links. I’ve tried to catch up with the one’s that I’ve seen to be dead, but going all the way back to 2008 reminds me that I did NOT do Flac right at the start of things here, which I had forgotten (I realize that most of the RS links are dead, but when I see working Mediafire links I haven’t yet removed the reference to the dead RS ones).

      What I SHOULD do, and would like to do, is revisit some of those early transfers (the older Van Kempens, the Van Beinum you mention) rather than just do a Flac redo. The program I used back then wasn’t so great for side joins, and I didn’t understand some issues of editing that are now a bit less foggy. I also incorrectly set some of the Click Repair options when I needed the “pitch protection” selected to avoid as issue with bright brass sounds (you get a “venetian blind” effect in the sound). I’ll do as much as I can over the course of this summer.



  5. p.f.r. says:

    Neal: Thanks for the Dvorak and Schubert Symphonies. The Dvorak performance certainly does reward repeated listening, with strong preparation of the orchestra and a lyricism from which many modern conductors could learn. The Perlea performance is an interesting take on the music, and the orchestra is there 100% to support him. The long pause must be an editing error; it does not make musical sense. If memory serves me correctly, the Perlea performance of Symphonie fantastique was a good one, but I have not heard it in many, many years.

    I have a question that intrigues me, and for which I have never found an answer elsewhere. When Vox Records recorded the “Vienna Pro Musica Orchestra,” was this just a cover name for any of the orchestras in Vienna that might be available at the moment (much as Don Gabor did at Remington), or was there a coherent ensemble brought together for recordings on the Vox label, much as Naxos does with its Esterhazy Sinfonia recordings in Budapest?



    • tatifan says:

      Yes, I agree on the long pause being an editing error, but I couldn’t quite bring myself to shorten it, being such an odd thing. I guess it goes along with the other strange Vox errors, such as their Vox/Turnabout issue of the Fournier/Backhaus Brahms Cello Sonatas, which has liner notes talking about nothing but the Brahms Violin Sonatas!

      Here’s something I found about the Pro Musica name, according to Mark Kluge quoted here:

      The Vienna Symphony Orchestra signed a contract with Philips in April of 1952; after that, it was still free to record with other labels, but not under its own name. The name Vienna State Philharmonia was used for a short period by Vox to disguise Vienna Symphony recordings, but that resulted in a suit by the Vienna Philharmonic (objecting that the closeness of the pseudonym to their own name resulted in unfair competition). Vox thenceforward used the name Vienna Pro Musica for its Vienna Symphony recordings.



  6. Steve Kostelecky says:

    Neal, thanks for sharing another winner!

  7. Allan Evans says:

    Thanks for sharing this distinguished performance. Your offerings are a treasure and I urge my students to delve in and expand their ears and culture.

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