Antonín Dvorák: Symphonic Poems

On this CD:

1. The Water Goblin (Vodník), symphonic poem, B. 195 (Op. 107)
Composed by Antonin Dvorak
Performed by SWF Sinfonieorchester Baden-Baden
Conducted by Vaclav Neumann

2. The Noon Witch (Polednice), symphonic poem, B. 196 (Op. 108)
Composed by Antonin Dvorak
Performed by SWF Sinfonieorchester Baden-Baden
Conducted by Vaclav Neumann

3. The Wild Dove (Holoubek), symphonic poem for orchestra, B. 198 (Op. 110)
Composed by Antonin Dvorak
Performed by SWF Sinfonieorchester Baden-Baden
Conducted by Vaclav Neumann

4. In Nature's Realm (V prírode), concert overture, B. 168 (Op. 91)
Composed by Antonin Dvorak
Performed by SWF Sinfonieorchester Baden-Baden
Conducted by Vaclav Neumann

Tracks:

The Moldau (Vitava): The Moldau (Vltava)
From Bohemia's Meadows And Forests
Slavonic Dances Op.46: No. 1 in C Major: Presto
Slavonic Dances Op.46: No. 2 In E Minor: Allegretto Schezando
Slavonic Dances Op.46: No. 3 In A Flat Major: Poco Allegro
Slavonic Dances Op.46: No. 4 In F Major: Tempo di Minuetto
Slavonic Dances Op.46: No.6 In D Major: Allegretto Scherzando
Slavonic Dances Op.46: No.7 In C Minor: Alegro assai
Slavonic Dances Op.72: No.2 in E minor: Allegretto Grazioso
Slavonic Dances Op.72: No.8 In A Flat Mijor: Grazioso e lento, ma non troppo, quasi Tempo di Valse

Customer Reviews:

Obra-prima.......2007-05-13

Smetana não é muito difundido, mas "O Moldávia", parte integrante do poema sinfônico "Minha Pátria", é uma obra-prima da música clássica. Ao que parece, Rafael Kubelik, tanto no comando da sinfônica de Boston, quanto da orquestra sinfônica da rádio Bávara, dão um show de interpretação e lirismo. A gravação, como era esperado, não é boa, pois é muito antiga, mas artisticamenté a composição e execução são piramidais. Existem vários cds com esta obra com Rafael Kubelik, variando muito a técnica de gravação, mas a música em si é difícil de esquecer, eu mesmo fico com a melodia na minha cabeça todos os dias. Tem um cd da Mercury que nem estéreo é, contendo o poema completo, é magnífico, mesmo com chiados. Imperdível todos eles.

Magical.......2003-10-12

While listening to this CD, I had the undeniable feeling that I was outside breathing in the fresh air, relaxing in the sunshine listening to the sounds of a babbling brook and this glorious music!

I enjoyed it........2001-12-17

I enjoyed it, that's about all I can say. Couldn't fault it.

Beautiful..........2000-07-08

I love "The Moldau". It is one of the most prettiest works by Smetna. I still get chills from repeated listening.

Passion - Most Famous Orchestral Spectaculars [20 CD Set]

Average customer rating:

A good gift for novice

Passion - Most Famous Orchestral Spectaculars [20 CD Set]

Manufacturer: Delta
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Binding: Audio CD

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ASIN: B00012QLTQ
Release Date: 2003-12-09

Album Description

Music can be both calming and relaxing, or invigorating and passionate...this phenomenal 20-CD set is definitely the latter. This amazing collection brings together for the first time the most passionate music of all time, from Ravel's Bolero, Tchaikovsky's Swan Lake, Wagner's Magic Fire Music to Ravel's La Valse, Orff 's Carmina Burana and Stravinsky's Rite of Spring. This is a must have collection for every passionate music lover.

Customer Reviews:

A good gift for novice.......2007-05-12

This was a good gift for somebody learning about Classical music in Japan.

Average customer rating:

A+
Even for a trained jazz musician who thinks classical artists are overhyped, this stands out as one of the best albums.
Fantastic
Enjoyable listening
very interesting

Midori ~ Encore!
Fritz Kreisler , Niccolo Paganini , Christoph Willibald Gluck , Cesar Cui , Grazyna Bacewicz , Edward Elgar , Dmitry Shostakovich , Antonin Dvorak , Sergey Prokofiev , Pyotr Il'yich Tchaikovsky , Karol Szymanowski , Pablo de Sarasate , Gabriel Faure , Alexander Nikolayevich Skryabin , Bela Bartok , Eugène Ysaye , Midori (Goto) , and Robert McDonald
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Dvorák: Violin Concerto, Op.53

ASIN: B0000028N1
Release Date: 1992-12-08

Tracks:

Praeludium and Allegro (in the style of Pugnani)
Habanera, Op. 21, No. 2
Cantabile
Kaleidoscope: Orientale, Op. 50, No. 9
Oberek, No. 2
Salut d'Amour
Miniature Viennese March
24 Preludes, Op. 34: No. 10 - Moderator non tropp
24 Preludes, Op. 34: No. 15 - Allegretto
24 Preludes, Op. 34: No. 16 - Andantino
24 Preludes, Op. 34: No. 24 - Allegretto
Chanson de matin, Op. 15, No. 2
Introduction et Tarentelle
Slavonic Dance in E minor, Op. 46, No. 2 (B 170)
The Love For Three Oranges: March
Souvenir d'un lieu cher: Melodie, Op. 42, No. 3
Mythes, Op. 30: La FOntaine d'Arethuse
Syncopation
Orfeo ed Euridice: Melodie ('Dance Of The Blessed Spirits')
Berceuse, Op. 16
Etude in Thirds, Op. 8, No. 10
Romanian Folk Dances, Sz 56: Dance With Sticks - Allegro moderato
Romanian Folk Dances, Sz 56: Waistband Dance - Allegro
Romanian Folk Dances, Sz 56: Stamping Dance - Andante
Romanian Folk Dances, Sz 56: Hornpipe Dance - Molto moderato
Romanian Folk Dances, Sz 56: Romanian Polka - Allegro
Romanian Folk Dances, Sz 56: Quick Dance - Allegro
Reve d'enfant, Op. 14

Customer Reviews:

A+.......2007-05-10

To say that I love this disc would be an understatement. I have probably listened to it 500 times. To comment on just a few of the tracks...
The "Praeludium and Allegro" is definitely the best recording anyone (except maybe Kreisler!) has ever done. The praeludium, which is almost all quarter notes, is often just blindly sawed out. Midori treats each note individually. The allegro is also nice - not rushed at all. The staggeringly difficult Skryabin-Szigeti "Etude in Thirds" tossed off with impeccable technique and spotless intonation. Sarasate's "Habanera" sparkles with a decisive 'Spanish' flavor. Elgar's "Chanson de Matin" is just plain beautiful. Also nice are inclusions of some numbers not heard hardly ever, including Bacewicz's "Oberek #2" mazurka and the Shostakovich preludes. Robert McDonald, definitely one of the best, is the able pianist for all the numbers.

Even for a trained jazz musician who thinks classical artists are overhyped, this stands out as one of the best albums........2007-04-11

Let's be honest--any kid with a violin who ever set foot in a conservatory thinks (s)he's a prodigy, the next Mehta or Yo Yo Ma, while they play the same old tired music everyone else plays, exactly as the greats play it, with hardly a shred of originality that doesn't arise out of an inability to replicate the 'masters' as well as their CD players (and that goes for jazz musicians too, but they don't get as snobby about it). The musicians who are truly great don't have any sort of attitude about their playing or their music--they just play, and they play anything, and it's great.

Midori has been one such great artist from early on. She simply had the knack. You would still want to listen to her if she was half as skilled. Every decent musician practices assiduously, seeks out the best people to learn from, makes sacrifices in life just for the chance to play for a living (even weddings and strip clubs if need be), but few have 'the knack.'

I don't know if Midori has a similar story, nor does it really matter in terms of actually making music. I know her parents moved from Osaka to the States with her when she was about ten just so she could pursue her potential--as all great students have great parents. I'm sure she didn't just pop out of the womb playing violin. But, like I wrote above, she's got the knack that you can't get through practice or training. She's just plain great.

Yes, I'm bored by classical music in general. I like 'good' music regardless of style though, and this album is so far beyond good that it belongs in whatever collection of immortal artist you may have--say: Miles Davis, Joe Henderson, Johnny Cash, Billy Joel, Ella Fitzgerald, Aretha Franklin, Shaka Khan, Luther Vandross, and--even if you have no other classical music in your collection--Midori.

Fantastic.......2006-08-11

Midori produces some amazing sounds out of her violin!
You cant go wrong with Encore! Shes brilliant.

Enjoyable listening.......2005-09-24

I enjoyed this cd especially the first three pieces. Midori played Sarasate and Paganini pretty well.

very interesting.......2005-09-13

I as watching (and listening!) her play live in Dubrovnik this summer. In this record she is equally brilliant as she is when playing live!

Average customer rating:

Maybe it is time to rethink these works
Arguably the Definitive Set of Dvorak Symphonic Poems
Fantastic performances
Jarvi and the RSNO do Dvorak's glitter and gore proud!

Dvorak: Symphonic Poems

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Tchaikovsky Symphonic Poems / Manfred Symphony

ASIN: B00000IM6P
Release Date: 1999-04-13

Tracks:

Overture: My Home, Op. 62 - Dvorak
The Water Goblin, Op.107 - Dvorak
The Golden Spinning Wheel, Op.109 - Dvorak

Tracks:

The Noon Witch, Op. 108 - A. Dvorak
The Wood Dove. Op. 110 - A. Dvorak
The Hero's Song, Op. 111 - A. Dvorak

Customer Reviews:

Maybe it is time to rethink these works.......2006-07-30

Antonin Dvorak's (1841-1904) most popular composition is his Symphony No. 9 ("From the New World"). Written in America, it was Dvorak's last symphony, and his greatest orchestral work. Or, at least that is what everyone thinks.

As it turns out, Dvorak returned to his home in Bohemia after the completion of the New World Symphony and set out to compose a series of symphonic poems based on tales from "The Garland," which contains a collection of Czech folk ballads. Four of Dvorak's symphonic poems are directly based on the grisly tales from this collection, while the final and fifth symphonic poem, "The Hero's Song" (Dvorak's final orchestral work) is based on Dvorak's general ideas about an adventurer setting out in the world.

First things first, this is some of greatest music of the Romantic tradition available. Each of these pieces contains the best elements of Dvorak's music: the orchestration is colorful, the tunes are distinctive, and the codas are some of the most exciting in classical music. Dvorak was clearly at his creative height when the symphonic poems were composed. What makes these pieces truly spectacular is Dvorak's vivid portrayal of the macabre stories from "The Garland." And the word "macabre" isn't used lightly here. These stories involve decapitations, murders, witches and goblins.

The first symphonic poem "The Water Goblin" concerns a goblin who forces a girl, who has fallen into a lake, to live with him in the watery depths. The girl's only consolation is her half-goblin baby. Eventually, the girl escapes, but the goblin finds her and kills the baby. Not really a happy story, but Dvorak's depiction of all of these events is masterful. The goblin theme is menacing, the girl's lament is lovely, and the gruesome events concluding the story are depicted in dramatic fashion by the orchestra. The CD notes by Gerald Larner are extremely detailed and explain the stories much better than I have with "The Water Goblin" above. Further the notes reconcile Dvorak's musical ideas to the story in a manner which anyone can understand.

I won't try to describe the remaining symphonic poems, as the stories are far too detailed and I probably couldn't do the music justice. Suffice it to say, the remaining pieces are fabulous. And despite the long length of these works ("The Golden Spinning Wheel" is 27 minutes long) there is not a dull moment. As a side note, the earlier "My Home" overture opens the program and is included primarily as a filler. Nevertheless, the performance of that work is also great.

Given that Dvorak worked on these pieces simultaneously (they are labeled with contiguous opus numbers) and that they were based on stories from the same source, one could argue that the symphonic poems could be viewed as a single multi-movement work, perhaps a proramme symphony based on nationalistic elements. In such a work, "The Wood Dove" would constitute the adagio; "The Noon Witch" would probably be the scherzo; while "The Hero's Song" would serve as the finale, bringing the whole thing to a triumphant (emphasized) close. Of course, such an idea conflicts with the romantic idea that Dvorak wrote nine symphonies, with his dark and dramatic ninth being is crowning achievement.

All of that is hypothetical though. You just need to know that this release is a must classical music lovers. These works should be far better known and can stand as equals along side the best moments within Dvorak's symphonies. Get this disc, you won't be disappointed.

Highest recommendation!!

CD 1: 57:14
CD 2: 53:57

Arguably the Definitive Set of Dvorak Symphonic Poems.......2005-01-08

This 2-CD set of Dvorak's complete symphonic poems should arguably be considered the definitive choice for anyone who wants a complete recording of these pieces. Although the two great Dvorak interpreters, Kertesz and Kubelik, have made recordings of these pieces, Jarvi's set should arguably be considered a more appealing and engaging interpreter of these underrated gems. Jarvi's interpretations tend to be more vivid than his illustrious predecessors and the Scottish National Orchestra players respond well to his inspired direction and to this rarely-heard Dvorak repertoire, with the atmospheric and reverberant Chandos recording allowing the listener to immerse himself in the grisly and grutesque fairy-tale world of the Erben ballads that inspired these four works. Jarvi highlights many nuances in the four poems, from the drama of The Noonday Witch to the exotic surroundings of the Water Goblin, from the frightful incidents in The Golden Spinning-Wheel to the misleadingly pastoral Wood Dove, and the vividness of his interpretations make you wonder why people don't consider these pieces as durable as the New World Symphony. Jarvi's set is the only complete set of Dvorak symphonic poems to include the rarely-heard Hero's Song, with its bold, swaggering character and a forward drive the typefies some of the Mahler symphonies. This is as well-played as the Erbenesque poems and the My Home Overture, which makes a fitting fill-up to this set with its homage to a Czech playwright. An added bonus is the superb and lucid booklet notes by Gerald Larner, featuring all the details of the symphonic poems to guide the listener along. This set is now doubly attractive at a superb bargain price. All-in-all, a must-have for any Dvorak lover.

Fantastic performances.......2004-03-28

Although one would not expect the Royal Scottish Orchestra under Neeme Jarvi to produce the best recordings of the rarely performed Dvorak symphonic poems, Jarvi has created electrifying performances of the four poems and the rarely heard Hero's Song.
I have Kubelik's version on DG as well as these recordings. Although Kubelik does some very interesting things with the poems, bringing out nuances of the scores and delightful orchestral effects, he does not have the convection that Jarvi has. Rather, it sounds as if Kubelik is treating these works as inferior; he is not convinced by them. Jarvi, on the other hand, has totally immersed himself in the music of the Bohemian master, producing a complete traversal of the symphonies with the orchestra. And his love of Dvorak is evident here. Jarvi is completely aware of the charm and beauty of these works, as well as their musical importance. He performs these works smashingly, especially the Water Goblin, which he champions. The sound of the orchestra is warmer and smoother than Kubelik's performances. My only complaint would be that the orchestra does sound a bit distant in these recordings - the acoustics are not top notch. However, Jarvi's energy and belief in these works make this CD a must for any Dvorak lover.

Jarvi and the RSNO do Dvorak's glitter and gore proud!.......2000-10-19

This 2-CD compilation is one of Chandos's generous reissues of "fillers" that accompanied Jarvi's performances of Dvorak's symphonies, but as other critics have noted, these tone poems are much more than a few extra minutes of music pinned to end of a CD. Instead these beguilingly childlike but often rather grisly works are models of late-Romantic music-making writ large. Except for the 1894 opus 62 and the opus 111, Dvorak's last orchestral piece, the music in this set is based on some folk ballads written by Dvorak's compatriot Karl Jaromir Erben, a sometime poet. The fairy tales each tell a chilling story often interspersed with gore (I'll let you find out the details, which Gerald Larner's lucid liner-notes handle beautifully), but Dvorak is hardly put off by the subject matter and paints a gorgeous program in sound for each one, filling all with one heart-easing (or heart-rending, when necessary) melody after another. Highlights include the lovely lullaby for the half-goblin baby in the center section of The Water Goblin, the King's warmly grand tune and the Janacek-like obsessing string-figures for the three gruesome exchanges in The Golden Spinning Wheel, and the poignant conclusion to The Wood Dove. So what of Jarvi's performances of these fascinating works? I looked at the playing time of some of these pieces (27:02 for the Spinning Wheel alone) and thought I might get bored by a certain symphonic sameness, which can often be the case with lesser-known Dvorak conducted and played without even the last ounce of concern, but this was never the case here. Jarvi and his Scots play every note with interest and loving conviction, so that the tales engross and entertain, as Dvorak knew they could. The sound is vintage Chandos, reverberant as many recordings are from this source and venue (Henry Wood Hall) but sonically spectacular: the engineers handle the fortissimo marching figures at the opening of the Spinning Wheel with the same attention as the breathless entry of the Noon Witch in that tone poem. All-in-all, an unusual bargain and an absolute must!

Dvorak: Symphonies Nos. 8 & 9; Smetana: The Moldau

Average customer rating:

Wonderful Set For Lovers of Czech Repertoire

Dvorak: Symphonies Nos. 8 & 9; Smetana: The Moldau

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

Wonderful Set For Lovers of Czech Repertoire.......2005-08-24

Dvorak's last two symphonies and Smetena's The Moldau were among favorite works of Karajan's wide repertoire.He recorded these works several times...No.8:in 1979 with BP for EMI,in 1985 with WP for DG...No.9:in 1964 with BP,in 1985 with WP for DG and in 1977 with BP for EMI...The Moldau:in 1967 and 1980's with BP,in 1985 with WP for DG,in 1970's with BP for EMI.This two CD consists of his DG recordings:No.8(1985-with WP),No.9(1964-with BP),selected parts from Slavonic Dances(1959-BP),The Moldau(1967-BP),Vysehrad and etc...I have almost all important recordings of these works(Kubelik,Giulini,Munch,Keilberth,great Klemperer & B.Walter,A.Fiedler,Szell,Solti,Ormandy,Kertesz,Maazel,Mackerras, Neumann,Sawallisch,Ancerl,Bernstein,Kondrashin,Dohnanyi,Jansons).Especially No.8 is my favorite interpretation and recording by far.Well- balanced rythmic figures,powerful string parts and blazing trumpets.No conductor(except Giulini)recorded this work such wonderful.No.9(1964)is good (particularly Largo).If you are lover of 'From the New World',this is a must for your collection,if not,you can find better recordings.My favorites for all times:Karajan-1977,BP and 1985,WP;Giulini's Chicago(1970's) and Concertgebouw(1992)recordings;Keilberth-1960's with Bamberg;Arthur Fiedler with Boston for BMG/RCA and Kubelik-1972 with BP.Some listeners don't like Karajan's performings because of more powerful than usual readings.They says:'Dvorak is not Bruckner or Wagner'.This may be true but not exactly.Dvorak's works(particularly Nos.7,8,9) includes structural and orchestral inspirations from Wagner and Bruckner.In short Karajan is always true conductor for Dvorak and Smetana lovers.All his performings in this set are powerful,authoritative,essential and undoubtly romantic!Very good price for two CD.Do not miss.

Rafael Kubelik conducts Dvorák, Smetana, Mussorgsky, Bartók, Hindemith, Schoenberg

Average customer rating:

The Mussorgsky is a Delight
A nice collection of performances, but mixed sonics from 50 years ago
Kubelik's Classic MLP Recordings Are Back!

Rafael Kubelik conducts Dvorák, Smetana, Mussorgsky, Bartók, Hindemith, Schoenberg

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B000A5DLPQ
Release Date: 2005-09-13

Tracks:

I. Adagio-Allegro
II. Andante
III. Presto
I. Adagio-Allegro Molto
II. Largo
III. Scherzo: Molto Vivace
IV. Allegro Con Fuoco

Tracks:

The High Castle
The Moldau
Sarka
From Bohemia's Meadows And Forests
Tabor
Blanik

Tracks:

Promenade
Gnomus
Promenade
Il Vecchio Castello
Promenade
Tuileries
Bydlo
Promenade
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Samuel Goldenberg Und Schmuyle
Limoges-Le Marche
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Cum Mortuis In Lingua Mortua
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La Grande Porte De Kiev
I. Andante Tranquillo - Irwin Fischer
II. Allegro - Irwin Fischer
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IV. Allegro Molto - Irwin Fischer

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II. Turandot: Scherzo
III. Andantino
IV. Marsch
I. Premonitions
II. Yesteryears
III. Summer Morning By A Lake
IV. Peripetia
V. The Obbligato Recitative
Variations On A Hungarian Folksong 'The Peacock' - Antal Dorati
Suite From 'The Miraculous Mandarin' - Antal Dorati

Customer Reviews:

The Mussorgsky is a Delight .......2006-10-26

I am not an "audio expert", but I do know what I like. And I love this CD. I heard this recording of Mussorgksy's "Pictures From an Exhibition" on an NPR program from The Chicago Symphony. I was very taken with the clarity of sound. I searched for the recording through Amazon and I am absolutely delighted. It is a four dsic set, but I haven't gone on to the other recordings (yet) becasue I keep re-playing this lovely piece. I hope you enjoy it.

A nice collection of performances, but mixed sonics from 50 years ago.......2006-06-01

Audiophiles adore the Mercury Living Presence series issued throughout the early Fifties and Sixties, but for those of us who aren't specialty collectors, it's pretty clear that not evreything on MLP is a gem. This valuable colleciton (mono only) from the doomed tenure of Rafael Kubelik with the Chicago Sym.--he lasted only a few years before the local critic's stinging rebukes sent Kubelik packing in favor of Fritz Reiner--deserves detailed appraisal.

CD 1: Kubelik was a lively, stylish Mozartean, and this 1953 Sym. #38 is quite lovely. It's more streamlined than Walter's recordings of the "Prague," but cut form the same affectionate cloth. The recording, however, is thin and shrill. I found it uncomfortable to listen to except at low volume.

Kubelik recorded Dvorak's "New World" musltiple times; this Chicago reading dates from 1951 and is caught in sharp mono sonics with a bit too much stinging treble for my ears. Even so, there are those who think this lively, rather lean performance is one of Kubelik's best. I'm not sure that it's so special that one should do without stereo, but the choice is personal. The CSO plays superbly, and the general contour of the interpretation is straightforward.

CD 2 is entirely given over to Smetana's Ma Vlast, another Kubelik specialty that he recorded multiple times. This 1952 recording sounds identical to the Dvorak on CD 1--a deep soundstage with lots of dynamic range. The interpretation is essentially moderate and unexaggerated. It's certainly stylish and has real sweep, too. In terms of dramatic impact CD 2 is far ahead of CD 1.

CD 3: Curiously, there are audiophile purists who insist that the Golden Age of 50's mono produced better sound than any current digital recording. If that's a viable position (few outside the cult agree), the works on this CD are prime evidence. Kubelik's Pictures at an Exhibition and Bartok Music for Strings, Percussion, and Celesta were recorded in the spring of 1951. They are vivid and colorful, with tangy wind choirs and plenty of dynamic impact. Kubelik proves a restless, almost nervous interpreter of the Mussorgsky, which refreshes this warhose. Neither the recording nor the CSO's playing really matches the later, legendary RCA performance under Reiner, but Kubelik's reading has more sinew and rhythmic spring to it. He brings the same qualities to the Bartok, which gets a wiry "modernist" interpretation that's very appealing, less offical-sounding than the famous Reiner account.

CD 4: At the start of this CD we are back to the thin sound of CD 1 (both were recorded in 1953 with the same Telefunken 201 micropone). For some reason, however, this disc can be played at louder volume without treble sting. Kubelik's Hindemith Symphonic Meatmorphoses is lean and propulsive. This is a refreshing take, but without gorgeous stereo sound the coloristic aspects of this showpiece can't be fully apreciated.

Being too much of a modernist was a prime factor in getting Kubelik fired, which is all the more unfair because his Schoenberg Five Pieces for Orchestra is a standout, almost the performance of a lifetime. I hope somebody in the conservative Chicago audience appreciated how seductive and witty this performance was; if Schoenerg's masterpiece has ever sounded more like Daphnis and Chloe, I don't know when.

The last two works were recorded in 1954, at the tail end of Kubelik's stay, and the sound remains a bit shrieky. But his itnerpretations of Kodaly's Peacock Variations and Bartok's Miraculous Mandarin Suite are excellent, full of energy and fierceness in the Bartok, making it as scary as the composer intended. Playing the shrill mono recording at full volume is impossibly masochistic on the ears, but the reading is terrific.

Chicago was lucky--they exchanged a near-great conductor for a great one. Mercury, however, lost the best conductor it would ever have, moving on to Dorati and Paray and even more audiophile cult delights.

Kubelik's Classic MLP Recordings Are Back!.......2005-09-14

Those familiar with my reviews on Amazon know of my great love for the Mercury Living Presence series. Equally great is my disgust that so many of these brilliant recordings have been deleted in the last few years! Thankfully, some of these legendary performances are resurfacing, and while the single disc titles are unfortunately listed at full-price, it is wonderful to see the various multi-disc sets basically being sold at budget line. With this 4CD reissue, Rafael Kubelik's legendary recordings with the Chicago Symphony are restored to the catalog, as only his 1952 rendition of Smetana's "Ma Vlast" was currently in print. (Please note that the performances of Kodaly's "Peacock Variations" and Bartok's "Miraculous Mandarin" Suite are with Antal Dorati leading the same orchestra.) To illustrate how prized these recordings are by collectors, the extremely rare original CD issue coupling the Moussorgsky/Ravel "Pictures at an Exhibition" with Bartok's "Music for Strings, Percussion and Celesta" has been known to fetch twice the price of this new set in the Amazon Marketplace! Buying this collection for the Pictures performance alone is worthwhile, as it was the recording that led a critic to coin the phrase "Living Presence," from which the Mercury named its series. Of course getting memorable accounts of Dvorak's 9th and Mozart's 38th Symphonies, Hindemith's "Symphonic Metamorphosis" and Schoenberg's Five Pieces, Op. 16 is just icing on the cake. Once again, Mercury Living Presence lives!

Average customer rating:

Musical but unexciting Dvorak
Rare music
Harnoncourt, Mackerras, Jarvi, Kertesz, and Kubelik all better Rattle's readings
Lacking in character
Reveling in the sound of a great orchestra

Dvorák: Tone Poems

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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ASIN: B0009U55Z6
Release Date: 2005-08-02

Tracks:

Allegro. Ma Non Troppo
Molto Vivace
Lento
Allegro, Ma Non Troppo
Andante, Marcia Funebre
Allegro
Molto Vivace
Andante

Tracks:

Allegretto
Andante Sostenuto E Molto Tranquillo
Andante
Allegro Vivo
Andante Mesto Come Primo
Un Poco Piu Mosso
Allegro Vivace

Amazon.com

By 1896, Dvorák had written some of his greatest works, including nine symphonies. Back from America, he was at the height of both his fame and his compositional power. Perhaps seeking a path less traveled, he wrote these four "orchestral ballads," as he called them, in quick succession, turning from his strict symphonic style to a more narrative, operatic form. However, his choice of literary inspiration can only be explained by his ardent patriotism: the poetry of Karel Jaromir Erben, an iconic Czech national poet. Archivist of Prague and collector of folk songs, he must have had a wild, perhaps folklore-influenced imagination. The poems are relentlessly gruesome and blood-thirsty, describing cruelty, mutilation, murder, suicide, and vengeance. That these horrors were alien to the warm-hearted composer is proved by his music. Although it illustrates character, atmosphere and every mood from drama and lamentation to exuberance, it is ravishingly beautiful. Its ardent, caressing lyricism, soaring melodies, inspired harmonies, daring modulations and ecstatic climaxes are literally breath-taking. Why these towering masterpieces are so rarely heard is a mystery; it is easy to ignore the grim literary content and surrender to the music, and the masterly, colorful orchestration must make them wonderful to play as well. Recorded live, the performance is superb: grand and sweeping yet sensitive to every timbral and expressive nuance, but the extreme, often sudden dynamic contrasts require a finger on the volume control. --Edith Eisler

Customer Reviews:

Musical but unexciting Dvorak.......2007-05-03

Like the Harnoncourt-Concertgebouw package of this exact concert, this meticulously produced twofer from Simon Rattle and the Berlin Philharmonic includes four Dvorak tone poems -- "ballads" the conductor calls them -- in a poorly-construed package that takes up two CDs when the whole thing could have been delivered on a single CD, either in super audio or with a cut or two, to offer this for a discount.

As it is, Amazon sells this as a two-for-one proposition. However, because almost every other rendition of these four works -- "The Golden Spinning Wheel", "The Wood Dove", "The Noonday Witch" and "The Water Goblin" -- you can put your hands on is more exciting than these, the value of this is significantly degraded. Most other reoordings are also more Slavic, something you probably wouldn't expect from a German orchestra and British conductor.

And they don't let you down in that regard! Rattle's attack in this music, if you dare call it that, is ultramusical and international. He eschews overstatement, both musically and emotionally, 100 percent of the time. I haven't heard hundreds of recordings of this music but every one I've heard is more exciting than these, more given to Slavic temperament, and many are just as involving from an architectural standpoint.

Rattle by contrast carries on with genial performances that emphasize individual elements of the score, almost as if he's tending too much to the trees and not enough to the forest This is fine as far as it goes but it leaves too much out of the music and basically misses the big picture.

These exact four tone poems were released on another twofer by Harnoncourt a few years back that received plentiful critical plaudits and are still considered de rigeur interpretations in the Penguin Guide (even though the disks have apparently been withdrawn in USA). Other remarkable recordings have been turned in by Czech conductors Talich, Chalabala, and Kubelik. Some notable non-Slavs have done them too -- Jarvi, Gunzenhauser,and American Theodore Kuchar -- to some or great acclaim.

In addition I note the same marketing shortcoming as the Harnoncourt issue: Rattle and Harnoncourt put 83 minutes and 81 minutes of music, respectively, on two CDs. In the super audio era where companies can squeeze this much music on one SACD, why didn't EMI choose to do that and release this as an SACD? It would have given the recording a novelty no other could match. Furthermore, they could have marketed this as one of the reasons the Berliners chose Rattle as their conductor -- because they wanted to perform repertoire outside their historic and expected range.

Indeed, when Rattle arrived in Berlin, the story was his selection marked a turning point in the history of the great orchestra. Rattle's charge was to take the orchestra in new and different directions, both interpretively (with his penchant for period performance) and in terms of repertory. This recording was a chance to capitalize on all that. It now appears to be an opportunity lost.

Rare music.......2007-01-20

I picked up this two-disc set because I am a fan of Dvorak's music. Having listened to this set, I am glad I got it on sale. These four tone poems are nowhere near as enjoyable as the nine symphonies, and the orchestration itself is somewhat bland. Overall, not that great a purchase except for the die-hard Dvorak fan.

Harnoncourt, Mackerras, Jarvi, Kertesz, and Kubelik all better Rattle's readings.......2006-09-01

As overjoyed as I am to see these late orchestral gems performed by a "name-brand" orchestra and conductor for a major label, I find these performances too problematic to recommend whole heartedly. As with his other recent efforts with EMI, Rattle's work here is mostly a mixed bag, where moments of tremendous energy are followed by dead patches of truly stiff playing. It doesn't help that Rattle never lets loose, keeping these romantic symphonic poems ridiculously earthbound when transcendence is so necessary. Take, for example, the rising climax of the Water Goblin - over a tremendous drum roll, the brass play the creatures theme as he struggles with the maiden. The goblin is, of course, defeated, leading into a wonderful coda, which carries the tremendous tension of that final outburst with the added irony of sorrow for the water spirit. However, here, this tremendous moment is so underplayed. The trumpets are barely audible (forget the lower brass) and Rattle carries the affair with a perfunctory nonchalance. Kertesz (Decca), Jarvi (Chandos), and Harnoncourt (Teldec) all surpass Rattle in this poem. Or take the Golden Spinning Wheel. Barely audible horns (a serious and persistent problem in this series) in no way conjure the heroic, bucolic sound necessary to call the procession together. Even in the Noonday Witch, the best in the set, the necessary amount of sleaze and grotesque is conspicuously absent. Rattle is unable to change the color and timbre of his band to suit these four remarkably different and brilliantly orchestrated works, instead choosing a "one size fits all" approach ill fitting for music as dynamic as this. Worse still, EMI's engineers heavily emphasize the strings while placing the brass (especially the horns) so far back in the rear that they are practically inaudible. For the symphonic poems, look to Kertesz (the Wood Dove is absent), Jarvi (a particularly wonderful Water Goblin), Harnoncourt (the poems are coupled with brilliant readings of the symphonies), Kubelik (not particular favorites of mine but still stunning readings) or Mackerras (who's stunning reading of The Golden Spinning Wheel is coupled with an equally fierce 6th Symphony). There is better Dvorak out there. I would pass on this.

Lacking in character.......2006-07-03

I'd happen to be a lot less enthusiastic about Simon Rattle's recordings of Dvorak's magnificent symphonic poems, especially when confronted with the existing catalogue - Kertesz, Talich, Kubelik, but also recently, Harnoncourt come to mind.

What I find cruelly lacking in Rattle's approach is his reluctance to take any risks, avoiding all dramatic tension with a Berlin Philharmonic appearing stiffer and more immovable than ever. Too much is taken for granted here - the luxurious sound machine included - and that's exactly what this music doesn't need. Dvorak's poems need character before anything (recently, Nikolaus Harnoncourt with the superior Concertgebouw Orchestra perfectly understood that - just compare his "Water Goblin" with Rattle's). As Andrew Huth in the excellent liner notes with this CD explains, Dvorak "was always anxious to be appreciated as a Czech artist" - and these symphonic poems are prime examples of Czech culture. Rattle and his plush but in the end rather impersonal orchestra deliver very little in that respect, neither in spirit nor in sound, though. It's big, loud, and far too superficial, not helped by the rather undefined recording quality secured by the EMI engineers. Disappointing.

Reveling in the sound of a great orchestra.......2006-03-05

To add a few thoughts from this listener: I bought this CD recently because I was intrigued with Rattle's recording of Debussy that came out about the same time. I was not (and am still not) crazy about Rattle's interpretation of the Debussy, but the playing and sound of this superb orchestra under Rattle was so fine that my curiousity compelled me to try this disc as well. I was not disappointed.

The music is well-described in the other reviews. Dvorak, to my mind, tended to do a better job with the open-ended format of these tone poems than he sometimes did with symphonic form. Perhaps he felt less constrained. In any event, these tone poems are indeed top-drawer Dvorak, and less known than they should be.

A couple of reviews in the major publications have been critical of Rattle's interpretation of these works. That's fair. As with Rattle's Debussy disc, from time to time he seems to become absorbed in the beauty of the individual moment, in the process letting the pulse drift and losing the thread of the musical architecture.

But I have to admit that he's a master at making the most out of the beauty of the individual moment, and with the Berlin Philharmonic, has a superb vehicle with which to do it.

As with the Debussy disc, the recording seems to me to be excellent, although I have to agree with others that the exceptionally wide dynamic range in some quiet spots almost causes you to wonder where the sound went. (It's entirely possible, though, that part of that is Rattle's doing--it is entirely consistent with, for example, his recording of Sibelius's 4th Symphony with Birmingham years ago.) What I particularly like, though, is how different the orchestra sounds with EMI versus DG. I hear more individual detail in the EMI recordings; a more close-in perspective, and less of a glossy homogenous sheen on the strings. (This is not to dis the DG "style"--I really enjoyed the sound on DG's recent Abbado Pelleas excerpts disc as well--although some of the Karajan efforts suffered from "too much of a good thing.")

So, one could ask for performances with more forward motion and coherence, but, when the playing and sound of the orchestra are this good, there is some real listening pleasure to be had.

Average customer rating:

Late Masterpieces

Dvorák: Symphonic Poems

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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ASIN: B0000013UJ
Release Date: 1994-02-15

Tracks:

The Noon Witch, Op. 108
The Golden Spinning-Wheel, Op. 109
The Wild Dove, Op. 110

Amazon.com

These three Dvorák tone poems are late, major works, still basically unknown to the general music public. For a few bucks, you can introduce yourself to nearly an hour of prime Dvorák, all written after the "New World" Symphony. The lovely Czech idiom and typical sense of melody that distinguish Dvorák are here, but so is a dramatic urgency that we don't always associate with this most genial of composers. The American conductor and his Polish orchestra have collaborated on powerful, effective performances, perhaps not quite so intense as the classic Václav Talich mono versions (on mid-priced Supraphon) but certainly better recorded. This disc is an outstanding bargain. --Leslie Gerber

Customer Reviews:

Late Masterpieces.......2000-06-12

I've heard numerous versions of Dvorak's symphonic poems, but this one, the cheapest, is always the one that stands out. I have a deep affection for these late masterpieces, as you can sense Dvorak's delight in depicting the dark, fantastic world of Czech folklore. From the broad sweep of "The Golden Spinning Wheel," to the palpable horror of "The Noon Witch," all three pieces beautifully exploit the late Romantic orchestra and are unmistakably--but not typically--Dvorak. If you only know Dvorak from his last three symphonies, and the cello concerto, give these a try...it's an exciting new look at an all too familiar composer. This version, played with gusto by the brilliant Polish National Symphony, is simply the best. You have to give Naxos credit for going beyond the tried and true and unearthing some real gems. If you're looking to add these brilliant works to your collection, I would highly recommend this version (it's much cheaper than Jarvi's!) 5 stars.

Average customer rating:

Satisfactory all the way

A Life in Music, Box 4 [Box Set]

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Polish | Languages | Opera & Vocal | Styles | Music

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ASIN: B000002B6T
Release Date: 1996-04-09

Customer Reviews:

Satisfactory all the way.......2002-07-31

Isaac Stern is, arguably, the best interpreter of classical music there is. His fleshy vibrato and excellent phrasing incorporates his feeling into this set. The Brahms is superb as Stern expresses love, grief, confusion, depression, and eventually redemption throughout the CD. His duo with Eugen Istomin of the Beethoven Violin Sonatas are the best in my library. Same with the Schubert with Daniel Barenboim as his accompanist. Bartok could have been brushed up upon. The intonation was just a tad off. The Franck CD is superb. The Bartok is THE main source for this piece because of Stern's collaboration with the actual composer. All in all, this set ends Stern's legacy with his favorite encores; the best played upon them all.

Average customer rating:

One of the choicest Talich reissues
Emblematic and sonorous performances!

Dvorák: Symphonic poems

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
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Václav Talich plays Dvorák
Smetana: My Country
Wagner: Tristan und Isolde, Prelude & Liebestod; Tchaikovsky: Symphony 'Pathétique'

ASIN: B000ENWHW2
Release Date: 2006-04-25

Customer Reviews:

One of the choicest Talich reissues.......2007-06-01

Czech recording techniques ween't always reliable in the 30s and 40s, the heyday of Talich's reign with the Czech Phil., but these are good pressings that have been very well cleaned up. YOu would hardly guess that the vintage is 1949 and 1951. There is plenty of space around the orchestra, not the dry, cramped sound one usually settles for, and although clarity isn't the best, the sonic quality is close to what Furtwangler was getting right after the war.

The interpretations are self-recommending. No one has surpassed Talich and his beloved orchestra for energy and completely idiomatic flavor in Dvorak. Better still is the repertoire: Dvorak's late, neglected tone poems. I agree with the reviewer below that Kertesz and Kubelik are also masters of these four sizable works, all based on peculiar and sometimes horrific Czech fairy tales, but one should add the name of Niklaus Harnoncourt, whose recent stereo versions have been gathered together on a single CD (they originally came as fillers to Dvorak symphonies). Except for the absence of up-to-date sound, however, these Talich readings run away with the competition. Highly recommended.

Emblematic and sonorous performances!.......2006-11-19

If you required me about the other three champion directors (apart Talich) in absolute domain of the spirit, flavor and accurate expressiveness around Dvorak's works, three names would come to my mind: Ferenc Fricsay, Istvan Kertesz and Rafael Kubelik.

But none of them has been able to surpass and obviously even equal the supreme domain and thundering musicality as Talich did.

He established with the Czech Philharmonic that rapport like nobody else. The proud of playing the most prominent and remarkable composer ever born is by itself a fact that transcends the simple patriotism. Mercurial energy and superb distinction are among others some of the most notable adjectives to qualify this artistic achievement.

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