Dvořák: New World Symphony - Analyzed and Performed (Czech Philharmonic Youth Orchestra & Ivanović) скачать в хорошем качестве

Dvořák: New World Symphony - Analyzed and Performed (Czech Philharmonic Youth Orchestra & Ivanović)

Antonín Dvořák: Symphony No. 9 in E minor ‘‘ From the New World’’, Op. 95 Czech Student Philharmonic Conductor: Marko Ivanović Host: Petr Kadlec One of the most famous and most performed compositions in the world – Symphony No. 9 in E minor ‘‘ From the New World’’ Op. 95 – was written by Antonín Dvořák in four months: from January to May 1893 in New York where, from October 1892, he was the Director of the American National Conservatory. In January 1893 he wrote to one of his Czech friends, ‘‘ I’m now working on a new Symphony (E minor). It seems to me that American soil will prove to be very fertile for my mind, and I’d even say that you can hear something of it in the new Symphony.’’ In March he added, ‘‘I don’t have much work at the school, so there’s time enough for my work and now, in fact, I’m finishing my new Symphony (…). I’m really pleased with it and it differs quite a lot from my earlier ones. Well, anyone with a nose for it must sniff out the influence of America. Maybe it’ll be a little American!!!’’ What did Dvořák mean when he said the symphony would be a little American? We know that he came across African-American music, and was also interested in Indian music. Does that mean he used this music in the New World Symphony? Yes and no – but Dvořák himself gave the best answer to that question in one of his American interviews. ‘‘Every nation has its own music. There is Italian, German, French, Czech, Russian; so why not American music? The authenticity of this music depends on its characteristic features, on its colours. I don’t mean that the tunes from the plantations, Creole or Southern, should be taken as the themes. That’s not my plan. But I study certain melodies again and again until I am fully imbued in their characteristics, to the extent that I can create a musical picture which is in accord with those features and contains their essence.’’ This applies to the New World Symphony. We find in it the atmosphere which Dvořák absorbed after his arrival, as well as other peculiarities (for example the use of the pentatonic – a scale which has only five, rather than eight notes). Dvořák again, ‘‘… I carefully studied a number of Indian melodies, whose qualities really drew me to them – above all their spirit. It is this spirit which I have tried to reproduce in my new symphony. (…) 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, harmony, counterpoint and orchestra color.’’ New Yorkers first heard Dvořák’s Ninth Symphony played by the New York Philharmonic, conducted by Anton Seidl, on 15th December 1893 as a full public rehearsal. As social etiquette required, Dvořák did not attend until the actual premiere the following day, an event which drew great attention. ‘‘Dr. Antonín Dvořák was glowing with happiness … After the second movement he had received a heartfelt ovation: the clapping grew to actually thunderous applause. Everyone was turning in the direction that Anton Seidl was looking. Everyone straining to see to whom Seidl was, so energetically, gesticulating. The person in question clearly wanted to modestly remain seated in his box. ‘‘At last the stately figure rises – standing as upright as the pines that his music so sublimely whispered about – recognised by a few of those present. The astonished whisper goes around: DVORAK! DVORAK! That word is passed from mouth to mouth. And as he is bowing we have time to observe this man, musician and tone poet who so enthrals the public and whose music awakens in us innumerable fine emotions. ‘‘He is dark. He has dark hair, thinning on top. His face is adorned with a short dark goatee gleaming of silver. He has dark eyes and his gaze is clear and cheerful – though sometimes straying to somewhere far, far away. There is in it a slightly unusual pathos. His face is frank and kind – bearing the stamp of tenderness and sensitivity. With a gesture of his hands, trembling, Dvořák acknowledges the conductor, Anton Seidl, he waves to the orchestra and the public. Then he disappears into the darkness of his box and the work continues. A work of such grandiose proportions rarely contains such an unending melodic flow. Dvořák’s composition is truly great and unique …’’ (New York Herald) 0:00 Analysis 15:57 Dvořák: New World Symphony, I. Adagio – Allegro Molto 25:38 Analysis 45:34 Dvořák: New World Symphony, II. Largo 57:30 Analysis 1:01:26 Dvořák: New World Symphony, III. Molto vivace 1:10:04 Analysis 1:25:20 Dvořák: New World Symphony, IV. Allegro con fuoco Follow us: • Facebook:   / ceskafilharmonie   • Instagram:   / czechphilharmonic   • Twitter (ENG):   / czechphil   • Twitter (CZ):   / cfilharmonie   • https://www.ceskafilharmonie.cz/en/