Newsgroup: it.arti.musica.classica
Titolo: Luoghi comuni

Per molti la classica e' solo Beethoven e pochi altri.
Peggio  : per moltissimi Beethoven e' solo la Nona, Vivaldi Le Quattro
Stagioni, Mozart la Serenata al Chiaro di Luna, Wagner la Cavalcata
delle Walkirie,Brahms...lasciamo perdere ( mi piace tanto quel
Brahms...) ...e via bestemmiando.
E Dvorak la Sinfonia dal Nuovo Mondo, ca va sans dire.
Punto.
Beh...col capo dovutamente cosparso di cenere...anch'io con quel
Dvorak li non e' che me la intendessi piu' di tanto, fino a qualche
giorno fa.
Si, perche' su Radio 3 da un po' stanno  trasmettendo un po' di tutto
di questo compositore, speciamente i suoi lavori cameristici, che
conoscevo assai poco e che mi stanno lasciando basito per il loro
calore e colore, intrisi  come sono di vita, di forza, per come sanno
trasmettere un messaggio tutto particolare, cosi' coinvolgente. e
complice.
Vogliamo rivisitare insieme un po' di questi luoghi comuni ?
Cesare Simonetti
GENOVA PROFONDA

 Vogliamo rivisitare insieme un po' di questi luoghi comuni ?
Guarda, su Dvorak ti dň una dritta: sinfonia n.8 in sol maggiore. Anche
la n.7 non č male, ma la 8 č incantevole
-- 
Luca Logi - Firenze - Italy        e-mail: 
ll...@dada.it
Home page: 
http://www.angelfire.com/ar/archivarius
                   (musicologia pratica)

 complice.
Verissimo, persino l'opera pianistica non finisce mai di stupirmi, e dire
che non avevo mai sentito parlare di Dvorak come compositore di pagine
pianistiche. Per certi aspetti la sua musica da camera rimanda a quella
brahmsiana.
Ma ieri quando hanno fatto sentire il finale della terza, hanno detto che
ancora risentiva dell'influenza wagneriana. Strano, non me ne sono mai
accorto, ho più percepito quella brahmsiana, specialmente nella settima
sinfonia.
-- 
Ciao
Massimiliano

 Vogliamo rivisitare insieme un po' di questi luoghi comuni ?
Tanto calore, tanto colore, tanta vita e tanta forza perchè la sua è una
musica che viene dal mondo contadino slavo.
Quattro opere soprattutto :
- La Rusalka
- Concerto per piano e orch. op 33
- Trio in fa minore op. 65
- Dumky trio op. 90.
Demba contadino romagnolo
--------------------------------
Inviato via 
http://arianna.libero.it/usenet/

 la n.7 non č male, ma la 8 č incantevole
        Concordo pienamente. Incantevole č la parola giusta.
dR

 la n.7 non č male, ma la 8 č incantevole
Esatto, confermo.
Soprattutto il primo movimento: gioia di vivere allo stato puro.
M

la n.7 non č male, ma la 8 č incantevole
Vero : le sinfonie le conoscevo, quello che non avevo mai ascoltato
era la produzione cameristica.
E di tutto quel che ho sentito in questi giorni, quello che  mi ha
piu' colpito e' stato il trio in mi minore ( eseguito dai maghi del
trio di Parma ).
Ma e' proprio vero che col tempo si impara ad apprezzare cio' che da
giovane manco t'accorgevi che esistesse : io la cameristica non la
digerivo, non la capivo.
E ieri quel trio mi ha letteralmente incantato, un caleidoscopio senza
fine, incredibile come con un trio si possa creare tanta intensita'
emotiva, tanta gioia, tanta emozione.
CS
GP

 Vogliamo rivisitare insieme un po' di questi luoghi comuni ?
-cut-
 Se mi permetti io ti consiglio di ascoltare il suo Notturno in Si maggiore
per orchestra d'archi e attenzione che non parlo della Serenata che e' molto
piu' suonata e conosciuta e spesse volte ci si confonde.    Penso sia uno
dei miei pezzi preferiti in assoluto. Sono passati 12 anni senza averlo
suonato e guarda caso, lo abbiamo suonato ieri sera con l'orchestra da
camera di Ravenna.
Devo dire che i miei colleghi dopo il concerto hanno confessato di essersi
emozionati solo con quel pezzo.
E' un pezzo che dura circa 12 minuti e i primi 7 sono solamente
d'introduzione, sembra che il pezzo non comincia mai perche' l'introduzione
e' lunga e lenta con un pedale dei bassi mentre gli altri strumenti  fanno
un tessuto di armonie che pian piano portano ad una tensione e alla fine di
questa prograssione all'improvviso scopia questa melodia dolcissima con
canti e controcanti dei vari strumenti, un vero dialogo tra di loro.  Mamma
mia quanto e' bello!  Me lo son goduta dalla prima all'ultima nota.
Spero tanto che tu riesca a sentirlo.
Ciao
V.

 Vogliamo rivisitare insieme un po' di questi luoghi comuni(sti) ?
Dvorak, imvho, e' come il maiale: e' buono tutto o quasi.
Ti consiglio anche io l'ottava e anche la deliziosa "Strega di mezzogiorno"
op 108, noche' la leggiadra serenata per archi op 22.
bw
a, vn


per orchestra d'archi e attenzione che non parlo della Serenata 
(cut)
A questo punto la richiesta canonica, ma, nel mio caso certamente non
retorica :
Quali dischi ?
CS
GP

 Quali dischi ?
Pensa un po' : il New York Times ha recentemente chiesto ai suoi critici
musicali, in occasione del centenario della morte di Dvorak, di suggerire
ognuno cinque registrazioni imperdibili di opere di questo autore
accompagnate da brevi ( ma mica tanto brevi, alla fine ) note di
accompagnamento. Questo è quello che è uscito :
( begin quote )
Dvorak, a Warm and Witty Melodist
By THE NEW YORK TIMES
Published: September 17, 2004
O this is what the classical record business has come to. Remember the last
Mozart year (1991), the last Brahms year (1997), the last Bach year (2000)?
Classical labels were all over them with big new projects and reissues.
As you may or may not have noticed, it is a Dvorak year, the centenary of
the composer's death. The foundering record industry seems hardly to have
noticed or to care. The highest-profile release of recent months was a Sony
Classical CD compiling older performances by Yo-Yo Ma (the Cello Concerto
and other works), and even Sony didn't make much of it.
True, Dvorak was not Bach, Mozart or Brahms (and more to the point when it
comes to respect, not German but Czech). Still, he was Dvorak, one of the
most beloved composers of all time, as at least a few major concert
presenters are acknowledging in desultory fashion this season: Carnegie Hall
in programs scattered about; the New York Philharmonic in its gala opening
concert on Tuesday (inevitably, with the "New World" Symphony); the Chamber
Music Society of Lincoln Center with two works next month.
Not that anyone is looking for the pointless reduplication that deadens
concert life and that was largely responsible for the record labels' plight
in the first place.
And fortunately, there is no lack of wonderful Dvorak recordings at least
among the major works, though many nooks and crannies remain inadequately
explored.
So the classical music critics of The New York Times are providing a guide
of sorts with recommendations of favorite Dvorak CD's. (Their selections are
on Page 6.) Think of it as a Dvorak year do-it-yourself kit. JAMES R.
OESTREICH
Here are some favorite Dvorak recordings of the classical music critics of
The New York Times. Availability is hard to determine in the current state
of the market. Most of the recordings here can be found on Amazon.com or in
major record stores. CD's range in price from $11.98 to $16.98 for one CD to
$47.98 for a six-CD set. (An introduction appears on Page 1 of Weekend.)
Anthony Tommasini
STRING SERENADE, WIND SERENADE. Academy of St. Martin in the Fields,
conducted by Neville Marriner (Philips 400 020-2, CD).
PIANO CONCERTO. Sviatoslav Richter, pianist; Bavarian State Orchestra,
Munich, conducted by Carlos Kleiber (with Schubert's "Wanderer" Fantasy; EMI
Classics 5 66947 2, CD).
CELLO CONCERTO IN B MINOR. Mstislav Rostropovich, cellist; Berlin
Philharmonic, conducted by Herbert von Karajan (with Tchaikovsky's "Rococo"
Variations; Deutsche Grammophon 447 413-2, CD).
"RUSALKA." Gabriela Benackova, Wieslaw Ochman, Richard Novak, Vera
Soukupova; Czech Philharmonic Orchestra and Chorus, conducted by Vaclav
Neumann (Supraphon 10-3641-2, three CD's).
LIEDER. Bernarda Fink, mezzo-soprano; Roger Vignoles, pianist (Harmonia
Mundi France HMC 901824, CD).
DVORAK'S "New World" Symphony may be his most deservedly famous work, but
I'll leave it to colleagues to recommend recordings. My overexposure to the
piece began in college, when the instructor of my body-building class played
a worn-out LP of the symphony during aerobic exercises. Even today, every
time I hear the scherzo, I feel I should be doing jumping jacks.
But I never get tired of another deservedly popular Dvorak work: the
Serenade for Strings, an absolutely perfect piece. Dvorak's greatness is too
easily ascribed to his achievement in seamlessly weaving elements of Eastern
European folk music into concert works. The serenade is a reminder that in
all the technical matters of composition Dvorak was a master. The scoring
for strings is miraculous: sustained chords are so beautifully voiced that
they seem to shimmer. The music is tender and sweet, especially the gentle
slow movement, but never sentimental. And has anyone ever written a more
wistfully beguiling waltz?
I recommend the richly played and clear-textured account by Neville Mariner
and the Academy of St. Martin in the Fields from 1981, available from
Philips in a pairing with the Serenade in D minor for winds, a work I love
for its playful, almost mock-serious tone.
Dvorak's Piano Concerto has never quite caught on with performers and
audiences. Perhaps Dvorak tried to pack too much into the teeming work,
which shifts startlingly from bucolic cheeriness to fitful outbursts. Try
the 1976 recording with the colossal pianist Sviatoslav Richter and the
Bavarian State Orchestra, conducted by Carlos Kleiber, and you may see why I
so enjoy this concerto.
Richter finds disarming delicacy and surprising pensiveness in the music.
But when things turn spirited, he plays with an incisive attack and sweeping
power, matched all the way by the great Kleiber. The EMI release includes
Richter's brawny account of Schubert's "Wanderer" Fantasy.
With all respect to Yo-Yo Ma, my favorite version of the essential Cello
Concerto in B minor is Mstislav Rostropovich's classic 1968 recording with
Herbert von Karajan conducting the Berlin Philharmonic. The elegiac and
impetuous elements of Mr. Rostropovich's playing are intriguingly balanced
by the spacious grandeur of Karajan's conducting.
My choice among recordings of Dvorak's enchanting opera "Rusalka" remains
the sensitive and idiomatic account with Vaclav Neumann conducting the Czech
Philharmonic Orchestra and Chorus and a winning, mostly Czech cast, headed
by the radiant soprano Gabriela Benackova, a Supraphon import that is
usually available.
It's an encouraging sign for the future of classical recording when a new CD
immediately joins your list of favorites, like Harmonia Mundi's album of
Dvorak songs with the mezzo-soprano Bernarda Fink and the pianist Roger
Vignoles. Though born in Argentina, Ms. Fink is of Slovenian heritage, and
she has lived in Prague. She sings these inexplicably little-known songs
with stylistic insight and affecting beauty. The rousing Gypsy songs will
make you want to dance, which is a lot more fun than doing jumping jacks.
Allan Kozinn
STRING QUARTETS NOS. 12, 13. Lindsay String Quartet (ASV DCA 797, CD).
PIANO TRIOS (4). Beaux-Arts Trio (Philips 454 259-2, two CD's).
PIANO QUINTET (OP. 81), STRING QUINTET (OP. 97). Leipzig String Quartet;
Christian Zacharias, pianist; Hartmut Rohde, violist (MDG Gold 307 1249-2,
CD).
STRING SERENADE, WIND SERENADE. Academy of St. Martin in the Fields,
conducted by Neville Marriner (Philips 400 020-2, CD).
SLAVONIC DANCES (OPP. 46, 72). Budapest Festival Orchestra, conducted by
Ivan Fischer (Philips 464 601-2, CD).
MOST composers as popular as Dvorak have been explored thoroughly. Their
best works are familiar to most music lovers.
Yet there is a wealth of spectacular lesser-known Dvorak that is as durable
as the big hits and often more treasurable. I encountered the G major String
Quartet (No. 13) at a Juilliard String Quartet concert as a student, and I
immediately bought the only recording I could find, the rich-toned,
idiomatic reading by the Prague Quartet.
If that performance were available on a single disc, it would top this list.
Only a sensitivity to readers' budgets prevented the inclusion of the boxed
set in which it currently resides (Deutsche Grammophon 463 165-2, nine
CD's), although with all 14 quartets and "The Cypresses" in incomparable
performances for around $65, it's a bargain.
As individual releases go, the Lindsay Quartet's energetic, quirkily
individualistic account is consistently attractive, and it includes the
popular "American" Quartet (No. 12), named for its inclusion of themes that
suggest spirituals and other touches reminiscent of Dvorak's sojourn in New
York and Spillville, Iowa.
Of the piano trios, only the last ("Dumky") approaches warhorse status, yet
all four are packed with the singing lyricism that is Dvorak's trademark.
The Beaux-Arts Trio, captured in its prime in a 1969 recording, exploits
that quality fully but also produces the sharp accents that tap the music's
Bohemian charms as well as the furious energy that gives the fast movements
of the early trios their visceral appeal.
The Opus 81 Piano Quintet has been copiously recorded, and by some starry
names. But a newly released collaboration between Christian Zacharias and
the Leipzig Quartet (former members of the Gewandhaus Orchestra) has a
winning directness.
The seductiveness of Dvorak's themes often leads musicians to overstate
their charms, but Mr. Zacharias and company avoid magnified inflections and
let the music make its own case. The String Quintet, another product of
Spillville (and of Dvorak's desire to encourage an American musical accent),
is less overtly folkish than its contemporaneous cousins, but the pentatonic
themes that for Dvorak were a central strand in the DNA of both spirituals
and American Indian music are presented in a sumptuous European harmonic
cloak.
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The two youthful serenades are among Dvorak's loveliest scores. They are in
some ways mirror images, with the String Serenade minted in the refinement
and sonic heft of the concert hall and the Wind Serenade rooted in the
sometimes celebratory, sometimes nostalgic atmosphere of a late 19th-century
street party.
The wind work in particular shows the degree to which Dvorak's insistence
that American composers look to native folk sources reflected his own
accomplishment in creating a distinctively Czech sound. The Neville Marriner
account, one of the earliest CD's, has weathered many a catalog purge, with
good reason: the performances are beautifully focused and have the right
measure of gracefulness and rusticity.
Those qualities, with the emphasis on zest, enliven the two sets of Slavonic
Dances. Great, vital recordings of these old favorites are plentiful, and
Ivan Fischer's lively 1999 recording shows that there is still plenty of
energy and nuance to be found in them.
Anne Midgette
QUARTETS, QUINTETS. Talich Quartet and others (with works by Bach, Mozart,
Mendelssohn, Bartok and others; Calliope 3229, three CD's).
SYMPHONIES (9). Berlin Philharmonic, conducted by Rafael Kubelik (Deutsche
Grammophon 463 158-2, six CD's).
"RUSALKA." Gabriela Benackova, Wieslaw Ochman, Richard Novak, Vera
Soukupova; Czech Philharmonic Orchestra and Chorus, conducted by Vaclav
Neumann (Supraphon 10-3641-2, three CD's).
SONGS. Bernarda Fink, mezzo-soprano; Roger Vignoles, pianist (Harmonia Mundi
France HMC 901824, CD).
STABAT MATER. Christine Goerke, Marietta Simpson, Stanford Olsen, Nathan
Berg; Atlanta Symphony Orchestra and Chorus, conducted by Robert Shaw
(Telarc CD-80506, two CD's).
DVORAK is almost too easy. Wholesome, nonintellectual and prodigally
talented, he cranked out reams of top-flight music, skillfully wrought and
infused with a folklike palette that adds to its popular appeal. He was a
simple man: trained (at least briefly) as a butcher, passionate about train
engines and not a great reader (perhaps the reason he kept choosing lousy
opera librettos). The requisite tortured-artist story line is absent from
his life, apart from moments of personal grief, like the loss of three small
children within two years, which found direct expression in his Stabat
Mater. Yet his music is utterly urbane, weaving bright colors into big,
impressive tapestries of tone and timbre.
I find Dvorak easy to admire and hard to love. He certainly does his best to
get around me, sometimes with pure sentiment, breaking out in almost
ridiculous sweetness in the second movement of the Piano Quintet in A, as if
holding out a flower.
But sweet performances of Dvorak can become cloying. The great
interpretations seem to me to have in common a faint rough-hewn quality - a
warmth, even a slight burr and a solidity - that comes out especially in the
playing of Czech musicians, who grew up venerating this nationalist master.
You hear it in Josef Suk's performance of the Violin Concerto with Karel
Ancerl, and you hear it in the Talich Quartet's Opus 81 Piano Quintet or
String Quartet No. 12. The excellent Talich set also includes the two final
quartets (Nos. 13 and 14), which belong on any Dvorak greatest-hits list.
Rafael Kubelik's benchmark set of the complete symphonies also has some of
this solid warmth, although there is no trace of a burr in the crystal-clear
playing of the Berlin Philharmonic. There are, of course, countless
fantastic recordings of the Seventh, Eighth and Ninth Symphonies from the
likes of George Szell, Leonard Bernstein and Ancerl, but for a desert-island
pick there's obvious appeal to the completeness of the set, including the
underperformed early symphonies. (Check out the Third.)
Dvorak was not the only composer with a gift for vocal writing who struggled
with opera. (See Schubert.) I find even "Rusalka" heavy going on the stage.
But while its drama is sluggish, its music is rich and rewarding.
There are two fine recordings on the market. In keeping with my advocacy of
Czech performances, I vote for Vaclav Neumann's, which keeps a sense of
directness and immediacy even in this lush score and features good Czech
singers like Gabriela Benackova and Vera Soukupova. (Others may prefer the
deliberate opulence of Charles Mackerras and Renée Fleming.)
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The songs are a treat, if sometimes a bit of a guilty pleasure, and Bernarda
Fink, with a warm mezzo-soprano that she keeps light enough to rise
effortlessly and well, joins Roger Vignoles in a fine selection, ranging
from a wonderful set of "Love Songs" (Op. 83) to lesser-known early pieces.
(For the impressive "Biblical Songs," go to Dagmar Peckova's Dvorak album on
Supraphon.)
The Stabat Mater is a little long-winded and not always quite as good as it
sounds. (You sometimes feel that you're waiting to discover the Verdi
Requiem around the corner.) But the size is necessary to express the scale
of emotion the composer evokes. Robert Shaw's last recording captures the
force-of-nature quality of Dvorak at his best: like rolling waves or hewn
rock, something strong and elemental showing through the music's
sophistication.
Jeremy Eichler
CELLO CONCERTO IN B MINOR. Mstislav Rostropovich, cellist; Berlin
Philharmonic, conducted by Herbert von Karajan (with Tchaikovsky's "Rococo"
Variations; Deutsche Grammophon 447 413-2, CD).
CELLO CONCERTO IN B MINOR. Pablo Casals, cellist; Czech Philharmonic,
conducted by George Szell (with Brahms's Double Concerto; Naxos 
3694319302
,
CD).
STRING QUARTETS NOS. 12, 14. Chilingirian Quartet (Chandos CHAN 8919, CD).
PIANO QUINTET (OP. 81), STRING QUARTET NO. 10. Andreas Haefliger, pianist;
Takacs Quartet (Decca 466 197-2, CD).
SYMPHONIES NOS. 8, 9. Berlin Philharmonic, conducted by Rafael Kubelik
(Deutsche Grammophon 447 412-2, CD).
IT may seem surprising that a Czech nationalist composer would write some of
his best music thousands of miles from his homeland, but such was the case
with Dvorak. Toward the end of his life, while at the peak of his artistic
powers, he spent three years in the United States. He was terribly homesick,
but he was also inspired to help America find its musical voice and launch
its own classical tradition.
That project didn't go very far, but at least Dvorak returned home with a
handful of works that would become his most popular for their combination of
plainspoken ebullience and bittersweet longing, their twinned reflections of
interior and exterior landscapes. That is certainly true of the Cello
Concerto, the most generously rhapsodic concerto bequeathed by anyone to the
instrument. It has been taken up by most major soloists of recent decades,
and with so many recordings to choose from, I couldn't resist including two
favorites.
First-time listeners should start with Mstislav Rostropovich's justly famous
account with the Berlin Philharmonic under Herbert von Karajan. Other
cellists give themselves over to the whooshing momentum of this mammoth
work, but Mr. Rostropovich often pulls back on the tempo to form
self-contained islands of lyricism. One such moment arrives almost 10
minutes into the first movement, when he returns to the opening theme but
shifts its former heroism into a beautifully hushed register of memory and
rue. Karajan leads the orchestra with sensitivity but also a symphonic
forcefulness that can make you forget you're listening to a concerto.
Those who already know the piece through modern recordings may enjoy a visit
to one of the monuments of prewar recorded sound: Pablo Casals with the
Czech Philharmonic under George Szell in 1937. Historic recordings often
derive a special poignance from the way we listen backward: that is, hearing
accounts from earlier eras with the retrospective knowledge of all that was
still to come. In this case, the Spanish Civil War had already broken out,
sending Casals's beloved homeland into chaos and spurring him to embrace a
principled musical activism. Heard through modern ears, this recording, with
Casals's wiry, intense and unflaggingly noble playing, can sound like an
impassioned cry for a continent poised on the edge of the abyss.
Turning to tokens of more idyllic times, we come to the "American" String
Quartet (No. 12), written during the blissful summer Dvorak spent among the
Czech immigrant farmers of Spillville, Iowa. The Chilingirian Quartet does a
fine job here, infusing an elegant style with a deep expressive commitment.
More warm and burnished playing comes from the Takacs Quartet and the
pianist Andreas Haefliger in the delightful A major Piano Quintet, which
predates the American period but still shares some of its hallmarks.
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One can't leave that period without a closing nod to the "New World"
Symphony, and there are again plenty of great options to choose from. I
enjoy the Czech-born conductor Rafael Kubelik's classic version with the
Berlin Philharmonic. The interpretation is well conceived, the playing is
unabashedly dramatic, and Kubelik shows an obvious affinity for the
composer's emotional and musical world.
James R. Oestreich
SYMPHONY NO. 6. Cleveland Orchestra, conducted by Christoph von Dohnanyi
(with Janacek's "Taras Bulba"; Decca/London 430 204-2, CD).
SYMPHONY NO. 5, "MY HOME," "HUSITSKA." London Symphony Orchestra, conducted
by Istvan Kertesz (Decca/London 417 597-2).
THREE OVERTURES (OPP. 91-93). Philadelphia Orchestra, conducted by Wolfgang
Sawallisch (with Liszt's "Préludes"; Philadelphia Orchestra, CD;
www.philorch.org
).
"DVORAK DISCOVERIES." Harmonie Ensemble New York, conducted by Steven
Richman; others (Music & Arts CD-926, CD).
REQUIEM. Pilar Lorengar, Erszebet Komlossy, Robert Ilosfalvy, Tom Krause;
Ambrosian Singers; London Symphony Orchestra, conducted by Istvan Kertesz
(with Kodaly's "Psalmus Hungaricus"; Decca/London 468 487-2, two CD's).
ALTHOUGH I share the general inclination in the surrounding lists to rely on
Czech performers in Dvorak's music, the absence of any in the following
discussion says much about the richness and variety of the Dvorak
discography.
With Dvorak as with Tchaikovsky, I bow to no one in my admiration and
respect for the towering three last symphonies. But they are so much a part
of my mental baggage that I more often seek out the charming and flavorful
earlier ones.
How to choose from so many favorite reordings of Dvorak's symphonies? Cheat,
of course, by tossing in a few ringers.
Christoph von Dohnanyi's version of the Sixth is a gem, made in 1989, when
the much-touted chemistry between him and the great Cleveland Orchestra was
at its most potent. The piece comes off like a masterwork worthy to stand
alongside the big three. But how often do you hear it in concert? I would
also turn to Mr. Dohnanyi and the Cleveland Orchestra for the "New World"
Symphony, a work they consistently made fresh, treating it almost as an
outsize chamber work, with lively and engaged interactions.
The Fifth Symphony, though not quite on the level of the Sixth, is also
compelling, and I list it here more or less randomly as a blanket
endorsement of performances of the orchestral works by Istvan Kertesz, a
Hungarian-born maestro who seemed to have just the right temperament for
Dvorak (among others). His recordings of the symphonies from the 1960's and
early 70's are available as a six-CD set, highly recommended to any who can
spare $50 or so.
Another broad-brush recommendation in Dvorak goes to Wolfgang Sawallisch.
His EMI recordings of the Seventh and Eighth Symphonies with the
Philadelphia Orchestra are particularly fine. But I list another
Philadelphia recording as an avenue to bring in several indispensable Dvorak
works (in addition to the obviously indispensable ones).
The first is "In Nature's Realm," one of a set of three concert overtures
(including the popular "Carnival") superbly rendered by Mr. Sawallisch and
the Philadelphians. It is quite simply glorious music.
So is the "Czech Suite," though not available at the moment in a standout
performance. (But be sure to hear it anyway; you'll get the idea.)
And then there are the serenades. Much as I relish the exquisite String
Serenade, I have a special fondness for the clucking of the Wind Serenade.
So Steven Richman's recordings of an early Octet version of the String
Serenade on "Dvorak Discoveries" is a particular delight: the revenge of the
Wind Serenade, as it were. The first lines of the string work, which seems
so inevitable and immutable in the final version, emerge here on horn and
bassoon, and woodwinds loom large throughout, alongside a string quartet and
piano.
I add the Requiem not as a favorite work but as another opportunity to cite
Kertesz's mastery and a way to expand the discussion. My favorites among the
choral works are the Te Deum and especially the Stabat Mater, and I heartily
second the recommendation of Robert Shaw's Stabat Mater elsewhere on this
page.
Although Kertesz's performance is typically grand, the Requiem - even in
relation to the Stabat Mater, itself no model of concision - is sprawling
and uneven. What's more it lacks much of the drama of the great requiems
across the centuries.
Clearly, Dvorak wasn't a fire-and-brimstone kind of guy. That's one of the
reasons we love him.
( end quote )
Ciao
Moos
-- 
"Have wheels, will travel !"
www.blauequelle.at

 Vogliamo rivisitare insieme un po' di questi luoghi comuni ?
diciamo allora che i centenari, spesso tanto vituperati e giudicati
inutili, forse a qualcosa servono. E' il Centenario della morte
dell'Antonin e oltre alla Nona Sinfonia, ho visto che qualche proposta
dvorakiana in piů compare anche nelle programmazioni dei concerti.
Meno male: in genere non si spingono oltre la Settima Sinfonia e la
musica da camera, cui hanno dedicato anche nei concerti ampio spazio, č
poco eseguita. I poemi sinfonici opp.107-110 continuano a essere
snobbati, forse sono giudicati malauguranti e portasfiga? Sě, sono un
po' macabri, ma tutti da scoprire conoscere e apprezzare, anche le tre
Ouverture opp.91-93. Speriamo solo che finito il 2004 l'Antonin non
torni a essere quello della Dal Nuovo Mondo......
Ciao
    Roberto
 

 > complice.
 
La "Sonatina" op.100 per violino e pianoforte è stupenda, con degli
squarci di colore magnifici. Io la suono spesso in concerto, nella mia
propria trascrizione per flauto. E' uno dei pochi lavori violinisitici
a funzionare veramente bene sul flauto, anche perché scevro da
virtuosismi puramente violinistici e squisitamente monodico.
Se vuoi ascoltare questa inedita versione per flauto, ti dico che la
suonerò in diretta alla Radio (RadioTre) il prossimo 17 ottobre in un
mio recital per flauto e pianoforte al Quirinale (programma: Schumann,
Dutilleux, Dvorak, Jolivet).
Ciao,Mario

 La "Sonatina" op.100 per violino e pianoforte č stupenda, con degli
scusa mario, ma se quoti cosě, renderai arduo  ai posteri capire che si 
parlava di Dvorak e non di LvB! (Me li vedo proprio i posteri che 
leggono iamc...)

Ciao,Mario
 L'ascoltero'  senza'altro e ti ringrazio per la segnalazzione.
Orario ?
CS
GB

leggono iamc...)
Eddai...io avevo capito...

 la n.7 non č male, ma la 8 č incantevole
Con chi con Barbiroli?.l.?

 Vogliamo rivisitare insieme un po' di questi luoghi comuni ?
Se ci sono sarà perché  quelle musiche avranno un valore no?.l.?

 - Dumky trio op. 90.
Bellissimo e anche il quartetto americano, che mi sembra piů bello della
sinfonia dal nuovo mondo, ci sono il trio Dumky ed il quartetto in edizione
economica di bella esecuzione della Deagostini, il trio perň č inciso
maluccio ma si apprezza bene lo stesso.l.o

 ha scritto nel messaggio
news:mr1mk05tftpvr1p7n...@4ax.com...

penso che tu sia piuttosto ottimista, sinceramente.... l'alrtro giorno in tv
in uno dei vari quiz, chiedono ad un vip chi ha composto la Toccata e fuga
in re minore, Bach o Beethoven... risposta ovvia, Beethoven.... e poi pensi
che qualcuno conosca la sinfonia dal nuovo mondo.... tz che ottimista!!!!
D.

D.
Frenaaaaaaaaaa !
Io alludevo a coloro che sanno che :
1) E' esistito un certo Antonin Dvorak
2) Che costui ha scritto musica
3) Che non si tratta di un calciatore dello Spartak Praga
4) Che la pronuncia di detto nome e' vagamente Vorgiac
Ecc Ecc
CS
GP

 4) Che la pronuncia di detto nome e' vagamente Vorgiac
ma tu te lo ricordi come hai scoperto che si diceva così? Ricordi quando 
non lo sapevi? Io no  no.

 non lo sapevi? Io no no.
Per me fu un trauma. Avrò avuto una quindicina d'anni e da quando ascoltavo
musica classica (prima media) ero andato avanti nella rocciosa convinzione
che si leggesse così come si scrive, senza preoccuparmi di quegli strani
segni diacritici. Come se la sinfonia "Dal nuovo mondo" di punto in bianco
fosse stata attribuita a un altro autore finora ignoto, una specie di
Luchesi.
Giovanni


 Orario ?
 
Il concerto lo trasmettono in diretta: il prossimo 17 ottobre
(domenica) alle 12.00.
La "Sonatina" di Dvorak è il terzo pezzo in programma (non ci sarà
intervallo, causa l'horror vacui di cui soffre la radio!). Ma tutti i
pezzi in programma sono estremamente interessanti.
Mario

 ha scritto nel messaggio
news:90f3l0h4h37pcn90q...@4ax.com...

beh, dai allora non viene associato solo alla sinfonia dal nuovo mondo...
suvvia.... quantomeno il quartetto americano e i poemi sinfonici....
D.

Per molti la classica e' solo Beethoven e pochi altri.
Chi č, Beethoven?
Schillogeno
-----------
"A composer is a guy who goes around forcing his will on
unsuspecting air molecules,often with the assistence of 
unsuspecting musicians."  Frank Zappa, 1940-1993.

-----------
Un amico di Marcelli !
Seneca

>Chi è, Beethoven?
Tu scherzi, ma se lo chiedono in molti.
E quelli che lo sanno, sanno benissimo che era sordo come una campana.
Cesare Simonetti