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Antonin Dvorak

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#1 ·
Antonin Dvorak (1841-1904), Czech composer of romantic classical music.

A friend of Johannes Brahms, Dvorak gave up playing viola in an orchestra to begin composing in 1871 full time. He lived for several years in America, where he wrote one of his most popular pieces Symphony No. 9 as well as other works including his Cello Concerto. His daughter ended up marrying one of his pupils - Josef Suk.

As an interesting piece of historical trivia, Neil Armstrong took his Symphony No. 9 on the Apollo 11 mission (the first moon landing in 1969).

About his Concerto for Cello and Orchestra, it was well recieved and even Brahms was impressed enough to state: "Had I known that one could write a cello concerto like this, I would have written one long ago!" or "Why on earth didn't I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!" (2 different sources says 2 different things - go figure!)

It is his Symphony No. 9 that so long ago became the first piece of classical music that I liked and has stuck with me through the years. At this point I own Harnoncourt's version and intend on owning Karajan one day as well.

Why do I like it? I can't tell you honestly... I enjoy the power of the horns and the drums together... the peace of the strings and woodwinds would be a start but not a fulfilling description. I simply enjoy it.

Sam
 
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#213 · (Edited)
Any other fans of String Quintet op 77? I think it has a fantastic sonata form first movement and that scherzo that comes next is wonderfully exciting. I would say its a chamber piece of the highest calibre.

String Quartet op 51 in E flat is also a real gem, it seems. Amazingly melodic start and really economical theme development; a much more lush and relaxed sound.
 
#214 ·
Any other fans of String Quintet op 77? ...

String Quartet op 51 in E flat is also a real gem, it seems. Amazingly melodic start and really economical theme development; a much more lush and relaxed sound.
I am a fan of all his chamber music. There isn't a hole.

I am sure you are searching around on your own, but be sure not to skip the non-obvious pieces, like:

S.Q. Nos. 5, 8, 9;
Terzetto;
Trio Nos. 2, 3;
Serenades, Op. 22 and 44;
and Klid.

Please, share further opinions as you listen.
 
#217 ·
I am infatuated with your string quartets, even your string quintets, the trios, also. Ah, the sextet, too.

But, to narrow my entry, let me say: Your quartets inspire something innate in me. Rarely, maybe in few other compositions, have I felt so at home and content. I feel and know that whatever I am listening to here, set between your four strings, is vital to my mental, spiritual, physical -- whatever, my basic being.

Truly, this catalogue -- the quartets, every one -- has imprinted upon my mind ineffable emotions. This pathos is set to specific instances and memories. No listen feels old or banal or tired. Every movement, every moment, every note gives me something I cannot ever forget or misplace along the way. All those notes have impressed matters that I consider were fated to ever reach my ears.

Personal obviously, but all should recognize the sentiment. So, here is my sudden thanks. Because I think such writing was long overdue.
 
#218 ·
Antonin Dvořák: Symphony No. 9 "From the New World" (1893)
:: Ančerl/CzPO [Ermitage, live Ascona '58]

This is a live 1958 radio broadcast recording from Ascona, Switzerland. The mono recorded sound is a bit distant and reverberant, robbing the performance of some immediate impact, but it's otherwise excellent by radio broadcast standards of the time.

The performance has all the qualities that one normally associates with Ančerl and the Czech Philharmonic: the deftly pointed and precise but still resilient rhythms; the great ensemble timing and coordination; the unfussy refinement and detail; the chamber orchestra-like quicksilver responsiveness; the lithe and athletic, slightly earthy, not too blended/homogenized strings; the piquant and characterful woodwinds (and their always winning solos); the dryly ripe and crisp/slightly biting Western Slavic brass; etc. But what separates it from its studio counterpart is its greater sense of occasion, with more ardent projection, more teeming internal energy, and more unmitigated and purposeful yet utterly natural sense of forward motion throughout.

Whereas the studio account (and many/most other accounts I've heard) tends to adopt a rather deliberate gait in the calmer music that follows in the wake of some of the turbulent sections, this one maintains a nice sense of continuation and flow that sounds more natural and inevitable. The Largo, too, has an unlingering elegance and uncanny sense of flow about it that prevents anything indulgent or affected from taking root, making the movement all the more affecting. (The unlingering, beautifully flowing slow movement is something of an Ančerl specialty: witness his shiver-and goosebump-inducingly beautiful account of the Largo from his recording of Shostakovich's Fifth Symphony.) This live performance is also notable for the excellent transitions, especially from the peaceful to the turbulent passages, where Ančerl insidiously builds tension to generate a bit of suspense and drama, sometimes within a span of only a few seconds. All in all, there are performances that are more blazing and powerful at any given moment, but for purposefulness, unflagging just-rightness, and cumulative impact, this is as compelling a performance as I've heard. (I'm hardly a "New World" aficionado, but I've probably hear a dozen or so well-thought-of recordings over the years.)

Listeners requiring excellent stereo would do well to czech out the Kertész/VPO "New World" on Decca-not to be confused with the later Kertész/LPO "New World," also on Decca. It doesn't have the holistic sense of continuity and flow and the crafty transitions of the live Ančerl/CzPO, but for spontaneous excitement and sheer visceral impact, it's tough to beat-and the ultra-vivid and -present recorded sound epitomizes the Decca sound of the early Sixties. The highlight of the performance is the opening of the work, the introduction and transition into the heart of the movement: when the bigger-than-life timpani roll hits you about two minutes in immediately followed by the fast-decaying little outcry from the violins … you're sure in the split-second of near-silence that follows that Kertész and company have all of a sudden changed their minds and decided to play Mahler's "Resurrection" instead of Dvořák's "New World"-which, as it so happens, were written at the same time.
 
#219 ·
What do you guys think of Dvořák's piano concerto? I'm just now listening to it, and I sincerely don't understand why virtually everyone seems to dismiss it as an unimportant work. I think it's a wonderful piece - and I'm not alone: András Schiff, for example, considers it a masterpiece and has fervently championed it throughout his career. And there are recordings by Richter, Aimard, Hough...

I hope the piece becomes more and more popular as time goes on, so that I can one day here it live!
 
#222 ·
As with a number of other contributors I am always amazed that this work is not held in higher regard-without a technical musical education I am unable to respond to some of the criticisms-all I am qualified to comment on is the degree to which I enjoy the Piano Concerto!
 
#225 · (Edited)
I recall someone a while back saying that Dvorak's early symphonies were like "watching paint dry". I've always enjoyed them, personally, but do find from #6 onwards they improved dramatically (I adore #8). Neumann has a good way with the early symphonies, particularly in his digital cycle (which is superb, thoughout) and #2 is especially good. I've been playing my Panocha set of the string quartets today, for the first time in ages. Fantastic performances. As far as the quintets are concerned I have the Vlach Naxos disc, which is very, very good indeed but again I havent played that in years.
 
#227 · (Edited)
I have been on a Dvorak kick recently after listening to a program detailing his music this past week.

One note: I heard his Ninth Symphony yesterday, which I had probably not heard in over a year or so. I had such tremendous fun, recalling all these fantastic minor moments in the winds, discovering countless new developments in the rhythmic drive of the entire thing, and a certain newfound respect for his grand work.

But more than anything, I was amazed by how much I still enjoyed the music. Things do grow old and stale. But some things, despite the tendency, never do. The Ninth is one of those, like much of his music I think.

Thinking, also, just now, had I known everything I do about music today, and I had never heard this Symphony, but then went and listened to it, would I be just blown away? Would it sound remarkable on the very first listen, unlike many new works I hear today that take time for me to appreciate? I don't have an answer or purpose for asking that, I guess. I just thought this was an interesting inquiry.
 
#235 · (Edited)
Just heard Legends... what remarkable pieces! So creative, beautiful, and full of variety... this work deserves to be better known!
 
G
#236 ·
I am a big fan of Dvorák's work and have spent many happy hours watching the set of DVDs recorded in 2014 by Jirí Bêlohlávek and the Czech Philharmonic. This set includes the symphonies 1-9, an introduction to each symphony by Bêlohlávek, and a documentary entitled Sketches of Dvorák.

I enjoy all three of his concertos. The cello concerto is the one that started me on my journey into the world of "serious" music. I listened to all these masterpieces at home as a child, but of course then I was only interested in pop music.

I live in Iowa and hope to get to Spillville one of these days to see where Dvorák and his family spent the summer.
 
#237 ·
Hi: Have you ever heard his piano trios. I especially love the F-, Op. 65 (#3) The violin solo in the poco adagio movement is exquisitely beautiful. Poignant, lyrical, and a lovely melody. It sings to the soul. Another work that I love, is Brahms Piano Quartet in G-, Op. 25. (Brahms and Dvorak were good friends, and Brahms helped Dvorak, get published). The last movement of the piano quartet, is a gypsy type melody that is like a train going down the tracks, with no brakes. It is a frenetic, frenzied, go-for-broke line that seems never to stop.
 
G
#238 ·
I saw your post earlier about the piano trio, opus 65. I don't have that one, so I listened to the poco adagio this morning on YouTube, and you are right! It is very beautiful. I have not heard much of Dvorak's chamber music; I have opus 96 of course, written in Spillville (and love it), the String Quintet in A minor, and the String Quintet in E major. I have listened to these two several times each, and enjoy them. I also have the piano quintet in A major.

However, I am sure my father has all the chamber music and I can get these from his collection. I also love most of what Brahms wrote, but I have not delved much into his chamber music yet, either. I am only two years into my journey, so I have much to discover yet. The Brahms and Dvorak symphonies are so far, my favorites. I also just obtained the set of DVDs the Cleveland Orchestra recorded of the Brahms symphonies and the two piano concertos and the violin concerto. It was well worth the cost.

I have been going through a stressful time in my life, and the beautiful music has helped me.
 
#244 · (Edited)
Janspe: If you want to hear something else, really sublime, his piano trios, are exquisite. My favourite is, the Fminor, Op. 65. I especially love the poco adagio movement, where the violin has such a lovely part. The melodic line. It is so, so poignant. The Beaux Arts Trio has an excellent performance of this one, and the other 3 trios ( although this trio is no longer around, only Menaham Pressler is still alive at 93), Their cds are still available, from Arkiv Music, or Amazon (on line).Other great performances, are, Emanuel Ax, Young Uck Kim, and Yo Yo Ma, on Sony, and the Florestan Trio on Hyperion label.
 
#247 ·
#249 ·
Ive got the Pesek discs, Klassik, and lots of other Dvorak sets (Kubelik, Kertesz, Neumann x2, Rowicki, Suitner, Jarvi, Belohlavek, etc) and lots of recordings of the last 3 symphonies (Mackerras, etc) but I've never heard that Nowak set. I'm intrigued to find out if it's any good.
 
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