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DVORAK:Sym.No.9 from the New W

Add To Wish List + £12.99 - Item is discontinued.

Item number 8558065-66
Barcode 636943806524
Release date 01/07/2002
Media type CD
Number of units 2
Disc: 1
An Introduction to... DVORAK Symphony No. 9 'From
1 A quiet beginning: sorrow, syncopation, and sequen
2 Instrumental colour as a prime element: clarinets
3 The opening tune again, with different instrumenta
4 The first big surprise: strings, shattering drumbe
5 Cellos and basses take us into a new key while flu
6 Horns, violas, and cellos introduce a new idea, so
7 A tiny detail from the opening culminates in a wil
8 Introduction complete
9 A solo horn introduces the main theme, perkily ans
10 The theme moves to G major; answering phrase from
11 Long crescendo, tremolo strings, back to tonic and
12 Transition to the secondary theme through the use
13 Three-bar groupings and again the use of sequence,
14 The sequence continues to rise, and the four-bar p
15 The first violins start off the next phrase, but t
16 The violins fall silent; the violas and cellos ans
17 So now we have a two-bar group, made up of stateme
18 The same thing again (though not quite the same)
19 Transition complete. The secondary theme arrives,
20 The 'bagpipe drone' is taken over by cellos, with
21 The tune is taken up by cellos and double-basses,
22 The violins continue a pattern of steady pairs, an
23 Unexpectedly, we find ourselves back with the seco
24 Again we hear the shortened version of the seconda
25 The suspense is heightened as everything slows dow
26 This beautiful flute tune is said to resemble 'Swi
27 A big crescendo leads to a final statement of the
28 The development section begins with a conversation
29 The beginning of the closing theme is taken up in
30 Sequential chirping from the oboes based on the 'a
31 Much of the development comes from a diminution of
32 A tiny detail becomes a major ingredient, giving a
33 Through a sequence of keys so quickly that it is h
34 The main theme from massed cellos and double-basse
35 After that major climax, we arrive at the threshol
36 Dvorak flouts tradition by setting the secondary t
37 The tumultuous convulsion of the coda brings the f
38 Humpty Dumpty: putting the bits back together agai
39 First movement (complete)
40 The very opening chords unmistakably herald the ar
41 The role of instrumentation in setting the scene..
42 ...and in enhancing the quality of one of the most
43 The cor anglais is joined by the clarinet, creatin
44 For the closing part of the tune, there is another
45 The closing bar is repeated by clarinets and basso
46 Back to the start to hear the whole of the story s
47 A change of scoring: the slow opening chords retur
48 The changes in scoring are just beginning.
49 The flutes and oboes introduce a new tune, over hu
50 A memorable combination of continuous, asymmetrica
51 Back in that woodland glade, the light and shadows
52 The next section is new and forward-looking, yet a
53 An abrupt change of mood, much discussion and embe
54 Subjectivity and expertise; Sourek and Tovey disag
55 Cue to whole movement
56 Second movement (complete)
Disc: 2
An Introduction to... DVORAK Symphony No. 9 'From
1 Dvorak, Beethoven, and the Scherzo. Dvorak purpose
2 Using a little fanfare, Dvorak further builds up e
3 When the theme is revealed, we find that it is not
4 Two little bursts of rhythm provide the seeds from
5 It is the second half of the theme that dominates.
6 Back to the beginning to hear the whole of this op
7 Without ever being remotely 'academic' or 'intelle
8 Dvorak's very Czech love of combining conflicting
9 A clearly transitional passage, obsessed with the
10 Sooner than we may have expected, we seem to have
11 A new kind of tone quality sheds a subtly differen
12 The flutes and oboes now chime in with an answerin
13 ...and the cellos and bassoons take up the origina
14 A false alarm: it was not the traditional Trio sec
15 Soon, after a very rapid build, the Scherzo proper
16 The orchestral texture thins dramatically, and we
17 The Trio section is reminiscent more of the 'Old W
18 In the second half of the Trio, a new tune emerges
19 The main theme of the Trio returns against a much
20 Then it is all a matter of repeats, until we reach
21 Third movement (complete)
22 Like the first movement, the fourth begins not wit
23 The main theme: an imposing march, introduced by t
24 The main theme, part two. A codetta-like passage c
25 The 'transitional' theme, while outwardly contrast
26 A point of future obsession
27 The second half of this 'transitional' theme is gi
28 The 'obsession' takes root, with a ten-fold repeti
29 The hidden traps in sonata-form terminology: 'seco
30 The unexpected entry and subsequent ubiquity of 'T
31 We meet the mice again, now in the cellos and doub
32 More 'Three Blind Mice' material
33 The mice return to the basement, where the bassoon
34 Next, they are back with the clarinets who pass th
35 Now they return to the high winds, delicately tril
36 Relief, at last: the mice back off, making way for
37 The mice yield to woodpeckers; the main theme is n
38 The triplets of the 'transitional' theme are now h
39 Reminders of past movements begin to fly by, thick
40 In fact there are three bits of quotation going on
41 The violas react every time the 'Goin' Home' theme
42 The rhythm of the opening of the 'Goin' Home' them
43 The march theme reappears as a Mendelssohnian fair
44 We reach an interesting point: have we heard the b
45 Perhaps this is it? Back for a reminder of the the
46 Tovey places the start of the recapitulation here.
47 The main theme recast in pathetic rather than hero
48 This unexpected crisis in confidence plays a major
49 The main theme returns - not complete, but chopped
50 A glorious thematic stew; high drama, a powerful b
51 The dramatic highpoint of the mov., an astonishing
52 The same chords again, this time blasted out by th
53 Now we are into the finishing stretch, but the sur
54 Summary, context, and cue into the whole movement
55 Fourth movement (complete)
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