Dvořák - Symphony No. 9 "From the New World" (Kertész, LSO) скачать в хорошем качестве

Dvořák - Symphony No. 9 "From the New World" (Kertész, LSO)

Hit the SUBSCRIBE BUTTON 👇🏼and click the BELL ICON 🔔for notifications! Antonín Dvořák (1841-1904) Symphony No. 9 in E minor, Op. 95 B. 178 "From the New World" 00:00 - 1. Adagio - Allegro molto 12:31 - 2. Largo 24:59 - 3. Scherzo: Molto vivace 32:26 - 4. Finale: Allegro con fuoco London Symphony Orchestra István Kertész (1929 -1973) (conductor) Taken from CD 6 of "Dvořák: The Symphonies" Recorded 1966 at London All copyrights belong to © Decca Music Group Limited. I DO NOT MONETIZE these videos. Dvořák was interested in Native American music and the African-American spirituals he heard in North America. While being the director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated: "I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them." The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony: "I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour." In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). He also wrote that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance". In 1893, a newspaper interview quoted Dvořák as saying "I found that the music of the negroes and of the Indians was practically identical", and that "the music of the two races bore a remarkable similarity to the music of Scotland". Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphony's Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. At the premiere in Carnegie Hall, the end of every movement was met with thunderous clapping and Dvořák felt obliged to stand up and bow. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. John Clapham says the symphony became "one of the most popular of all time" and at a time when the composer's main works were being welcomed in no more than ten countries, this symphony reached the rest of the musical world and has become a "universal favorite". As of 1978, it had been performed more often "than any other symphony at the Royal Festival Hall, London" and is in "tremendous demand in Japan". This personal favourite of mine by the London Symphony conducted by István Kertész is no short exceptional. And comes along with an equally exceptional collection of the composer's previous symphonies and overtures.