Album2002Classical
An Introduction To Dvorak Symphony No.9 From The New World
Jeremy Siepmann, Stephen Gunzenhauser, Slovak Philharmonic OrchestraTracklist
Disc 1
1
1. A quiet beginning: sorrow, syncopation, and sequence2:38
2
2. Instrumental colour as a prime element: clarinets and bassoons, an outburs...0:58
3
3. The opening tune again, with different instrumental colouring; now flutes ...0:33
4
4. The first big surprise: strings, shattering drumbeats, shrieks from flutes...0:37
5
5. Cellos and basses take us into a new key while flutes and oboes dance in s...0:32
6
6. Horns, violas, and cellos introduce a new idea, soon to evolve into the ma...0:31
7
7. A tiny detail from the opening culminates in a wild drumming that heralds ...0:43
8
8. Introduction complete2:06
9
9. A solo horn introduces the main theme, perkily answered by bassoons and horns0:39
10
10. The theme moves to G major; answering phrase from flutes, oboes, bassoons...0:33
11
11. Long crescendo, tremolo strings, back to tonic and biggest statement yet ...0:40
12
12. Transition to the secondary theme through the use of sequence. Sonata for...1:36
13
13. Three-bar groupings and again the use of sequence, spelling out a chord0:35
14
14. The sequence continues to rise, and the four-bar phrase returns as the st...0:18
15
15. The first violins start off the next phrase, but the melodic shape is mor...0:21
16
16. The violins fall silent; the violas and cellos answer with a new figure, ...0:10
17
17. So now we have a two-tear group, made up of statement and answer0:07
18
18. The same thing again (though not quite the same)0:06
19
19. Transition complete. The secondary theme arrives, with French horns as 'b...1:01
20
20. The 'bagpipe drone' is taken over by cellos, with their insistently repea...0:19
21
21. The tune is taken up by cellos and double-basses, 'shadowed' by the secon...0:58
22
22. The violins continue a pattern of steady pairs, and the cellos and basses...0:33
23
23. Unexpectedly, we find ourselves back with the secondary theme. A new idea...0:26
24
24. Again we hear the shortened version of the secondary theme, followed by m...0:34
25
25. The suspense is heightened as everything slows down; a soft, still varian...0:26
26
26. This beautiful flute tune is said to resemble 'Swing Low, Sweet Chariot'0:47
27
27. A big crescendo leads to a final statement of the closing theme, bringing...1:16
28
28. The development section begins with a conversation between cellos, double...1:09
29
29. The beginning of the closing theme is taken up in turn by the horn, picco...0:18
30
30. Sequential chirping from the oboes based on the 'answering' part of the m...0:18
31
31. Much of the development comes from a diminution of the closing theme from...0:20
32
32. A tiny detail becomes a major ingredient, giving an agitated quality to a...0:31
33
33. Through a sequence of keys so quickly that it is hard to keep track of th...0:38
34
34. The main theme from massed cellos and double-basses, topped by two trumpe...1:47
35
35. After that major climax, we arrive at the threshold of the recapitulation...1:04
36
36. Dvorak flouts tradition by setting the secondary theme and the closing th...1:11
37
37. The tumultuous convulsion of the coda brings the first movement to its ep...3:09
38
38. Humpty Dumpty: putting the bits back together again0:21
39
39. First movement (complete)11:37
40
40. The very opening chords unmistakably herald the arrival of something special1:06
41
41. The role of instrumentation in setting the scene1:11
42
42. and in enhancing the quality of one of the most famous tunes in symphonic...1:29
43
43. The cor anglais is joined by the clarinet, creating a fascinating change ...1:09
44
44. For the closing part of the tune, there is another new sonority: cor angl...0:24
45
45. The closing bar is repeated by clarinets and bassoons, the horn adding a ...0:29
46
46. Back to the start to hear the whole of the story so far, this time withou...2:24
47
47. A change of scoring: the slow opening chords return, this time played by ...1:14
48
48. The changes in scoring are just beginning2:36
49
49. The flutes and oboes introduce a new tune, over hushed tremolo strings1:05
50
50. A memorable combination of continuous, asymmetrical melody with steady, m...1:28
51
51. Back in that woodland glade, the light and shadows have changed, revealin...1:33
52
53. An abrupt change of mood, much discussion and embellishment, and a hushed...0:00
53
54. Subjectivity and expertise; Sourek and Tovey disagree; onwards, into the ...0:00
54
55. Cue to whole movement0:00
Disc 2
55
01. Dvorak, Beethoven, and the Scherzo, Dvorak purposely confuses the listene...1:54
56
02. Using a little fanfare, Dvorak further builds up expectation before revea...0:21
57
03. When the theme is revealed, we find that it is not exactly a tune0:37
58
04. Two little bursts of rhythm provide the seeds from which much of the move...0:25
59
05. It is the second half of the theme that dominates0:23
60
06. Back to the beginning to hear the whole of this opening section0:48
61
07. Without ever being remotely 'academic' or 'intellectual', there is much c...0:21
62
08. Dvorak 's very Czech love of combining conflicting rhythms, sometimes metres2:31
63
09. A clearly transitional passage, obsessed with the rhythmic tag that both ...0:31
64
10. Sooner than we may have expected, we seem to have arrived at the Trio sec...1:07
65
11. A new kind of tone quality sheds a subtly different light on the theme0:36
66
12. The flutes and oboes now chime in with an answering variant of the opening0:21
67
13. and the cellos and bassoons take up the original version of the theme.0:44
68
14. A false alarm: it was not the traditional Trio section at all, but rather...0:52
69
15. Soon, after a very rapid build the Scherzo proper does reach its final phase1:14
70
16. The orchestral texture thins dramatically, and we approach what this time...1:28
71
17. The Trio section is reminiscent more of the 'Old World' than the 'New'0:50
72
18. In the second half of the Trio, a new tune emerges, a kind of Slavonic waltz1:01
73
19. The main theme of the Trio returns against a much fuller orchestral backg...0:36
74
20. Then it is all a matter of repeats, until we reach the coda, which ends w...1:16
75
21. Third movement (complete)8:07
76
22. Like the first movement, the fourth begins not with its main theme but wi...0:47
77
23. The main theme: an imposing march, introduced by trumpets and trombones, ...0:49
78
24. The main theme, part two. A codetta-like passage closes off the march and...1:01
79
25. The 'transitional' theme, while outwardly contrasting, is actually a hidd...0:53
80
26. A point of future obsession0:17
81
27. The second half of this 'transitional* theme is given to the winds as soo...0:17
82
28. The 'obsession' takes root, with a ten-fold repetition, before the arriva...0:57
83
29. The hidden traps in sonata-form terminology: 'second main theme' vs. 'sec...2:32
84
30. The unexpected entry and subsequent ubiquity of 'Three Blind Mice'1:24
85
31. We meet the mice again, now in the cellos and double-basses, where they p...0:36
86
32. More 'Three Blind Mice' material0:31
87
33. The mice return to the basement, where the bassoons have joined the cello...0:19
88
34. Next, they are back with the clarinets, now joined by pizzicato violas, w...0:19
89
35. Now they return to the high winds, delicately trilling0:15
90
36. Relief, at last: the mice back off, making way for a reminder of the main...0:35
91
37. The mice yield to woodpeckers (clarinets); the main theme (or its opening...1:08
92
38. The triplets of the 'transitional' theme are now handed down through stri...0:24
93
39. Reminders of past movements begin to fly by, thick and fast, sometimes ve...0:28
94
40. In fact there are three bits of quotation going on here simultaneously0:23
95
41. The violas react every time the 'Goin' Home' theme is quoted by the winds0:14
96
42. The rhythm of the opening of the 'Goin' Home' theme dominates, transforme...0:35
97
43. The march theme reappears as a Mendelssohnian fairy; the main theme from ...1:55
98
44. We reach an interesting point: have we heard the beginning of the recapit...1:06
99
45. Perhaps this is it? Back for a reminder of the theme proper, as we first ...1:41
100
46. Tovey places the start of the recapitulation here1:27
101
47. The main theme recast in pathetic rather than heroic terms - and with mag...1:51
102
48. This unexpected crisis in confidence plays a major role in the overall dr...1:50
103
49. The main theme returns - not complete, but chopped up into shorter and sh...1:31
104
50. A glorious thematic stew; high drama, a powerful build-up... but then?0:56
105
51. The dramatic highpoint of the movement, an astonishing transformation, bu...1:27
106
52. The same chords again, this time blasted out by the entire wind and brass...1:09
107
53. Now we are into the finishing stretch, but the surprises continue to the ...1:43
108
54. Summary, context, and cue into the whole movement1:06
109
55. Fourth movement (complete)1:30:38
Archive content (83 files)
- - 0.00
- Book/ - 0.00
- Book/Cover back.JPG - 0.05
- Book/Cover front.JPG - 0.06
- Book/page.JPG - 0.60
- Book/page0001.JPG - 0.94
- Book/page0002.JPG - 1.00
- Book/page0003.JPG - 0.91
- Book/page0004.JPG - 0.82
- Book/page0005.JPG - 1.46
- Book/page0006.JPG - 1.44
- Book/page0007.JPG - 1.27
- Book/page0008.JPG - 1.43
- Book/page0009.JPG - 1.47
- Book/page0010.JPG - 1.43
- Book/page0011.JPG - 1.46
- Book/page0012.JPG - 1.41
- Book/page0013.JPG - 1.46
- Book/page0014.JPG - 0.80
- Book/page0015.JPG - 0.96
- Book/page0016.JPG - 1.25
- Book/page0017.JPG - 1.28
- Book/page0018.JPG - 1.43
- Book/page0019.JPG - 1.41
- Book/page0020.JPG - 1.07
- Book/page0021.JPG - 1.07
- Book/page0022.JPG - 1.27
- Book/page0023.JPG - 1.30
- Book/page0024.JPG - 1.29
- Book/page0025.JPG - 1.27
- Book/page0026.JPG - 1.32
- Book/page0027.JPG - 1.32
- Book/page0028.JPG - 1.32
- Book/page0029.JPG - 1.33
- Book/page0030.JPG - 1.22
- Book/page0031.JPG - 1.28
- Book/page0032.JPG - 1.31
- Book/page0033.JPG - 1.36
- Book/page0034.JPG - 0.88
- Book/page0035.JPG - 0.80
- Book/page0036.JPG - 0.74
- Book/page0037.JPG - 0.76
- Book/page0038.JPG - 1.21
- Book/page0039.JPG - 1.47
- Book/page0040.JPG - 1.31
- Book/page0041.JPG - 1.43
- Book/page0042.JPG - 1.22
- Book/page0043.JPG - 1.43
- Book/page0044.JPG - 0.90
- Book/page0045.JPG - 1.18
- Book/page0046.JPG - 0.93
- Book/page0047.JPG - 1.17
- Book/page0048.JPG - 1.28
- Book/page0049.JPG - 0.98
- Book/page0050.JPG - 0.51
- Book/page0051.JPG - 1.20
- Book/page0052.JPG - 1.30
- Book/page0053.JPG - 1.25
- Book/page0054.JPG - 1.08
- Book/page0055.JPG - 1.15
- Book/page0056.JPG - 1.15
- Book/page0057.JPG - 1.32
- Book/page0058.JPG - 1.39
- Book/page0059.JPG - 0.65
- Book/page0060.JPG - 1.02
- Book/page0061.JPG - 0.98
- Book/page0062.JPG - 1.05
- Book/page0063.JPG - 1.02
- Book/page0064.JPG - 1.09
- Book/page0065.JPG - 0.40
- Book/page0066.JPG - 0.57
- Box back.JPG - 0.06
- Box face.JPG - 0.05
- CD1/ - 0.00
- CD1/An introduction to Dvorak Symphony No.9 From the New World.log - 0.01
- CD1/Jeremy Siepmann, Stephen Gunzenhauser, Slovak Philharmonic Orchestra - An introduction to Dvorak Symphony No.9 From the New World.cue - 0.01
- CD1/Jeremy Siepmann, Stephen Gunzenhauser, Slovak Philharmonic Orchestra - An introduction to Dvorak Symphony No.9 From the New World.flac - 271.32
- CD1/Jeremy Siepmann, Stephen Gunzenhauser, Slovak Philharmonic Orchestra - An introduction to Dvorak Symphony No.9 From the New World.log - 0.01
- CD2/ - 0.00
- CD2/An introduction to Dvorak Symphony No. 9 CD2.log - 0.01
- CD2/Jeremy Siepmann, Stephen Gunzenhauser, Slovak Philharmonic Orchestra - An introduction to Dvorak Symphony No. 9 CD2.cue - 0.01
- CD2/Jeremy Siepmann, Stephen Gunzenhauser, Slovak Philharmonic Orchestra - An introduction to Dvorak Symphony No. 9 CD2.flac - 240.11
- CD2/Jeremy Siepmann, Stephen Gunzenhauser, Slovak Philharmonic Orchestra - An introduction to Dvorak Symphony No. 9 CD2.log - 0.01