Dvorak: Symphony No9; Franck: Symphony in Dm

On this CD:

1. Symphony, in D minor, Op. 48
Composed by Cesar Franck
Performed by Concertgebouw Orchestra Amsterdam
Conducted by Willem Mengelberg

2. Symphony No. 9 in E minor ("From the New World," first published as No. 5), B. 178 (Op. 95)
Composed by Antonin Dvorak
Performed by Concertgebouw Orchestra Amsterdam
Conducted by Willem Mengelberg

Editorial Reviews
Amazon.com
Willem Mengelberg was the prototypical arch-Romantic conductor, taking freedoms more common to an earlier age. In part, that accounts for the enduring fascination of his interpretations, which, however odd-sounding to modern ears, can often result in compelling performances that make listeners hear familiar works anew. The Franck, with its own Romantic excesses, doesn't always respond well to an approach full of arbitrary tempo changes, but Mengelberg tempers the work's lushness with a hard-driving performance that generates excitement. The Dvorák is also driven hard, but there are luscious pauses to smell the flowers. Bryan Crimp's transfers of the mediocre original recordings from 1940-1941, are first-rate, helping to make this release attractive to Mengelberg's many fans and collectors of historical recordings. --Dan Davis

Tracks:

Sym in d: I. Lento-Allegro Non Troppo
Sym in d: II. Allegretto, Ma Non Troppo
Sym in d: III. Allegro Non Troppo
Sym No.9 in e, B178 (Op.95) 'From The New World': I. Adagio-Allegro Molto
Sym No.9 in e, B178 (Op.95) 'From The New World': II. Largo
Sym No.9 in e, B178 (Op.95) 'From The New World': III. Scherzo. Molto Vivace
Sym No.9 in e, B178 (Op.95) 'From The New World': IV. Allegro Con Fuoco

Amazon.com

Willem Mengelberg was the prototypical arch-Romantic conductor, taking freedoms more common to an earlier age. In part, that accounts for the enduring fascination of his interpretations, which, however odd-sounding to modern ears, can often result in compelling performances that make listeners hear familiar works anew. The Franck, with its own Romantic excesses, doesn't always respond well to an approach full of arbitrary tempo changes, but Mengelberg tempers the work's lushness with a hard-driving performance that generates excitement. The Dvorák is also driven hard, but there are luscious pauses to smell the flowers. Bryan Crimp's transfers of the mediocre original recordings from 1940-1941, are first-rate, helping to make this release attractive to Mengelberg's many fans and collectors of historical recordings. --Dan Davis

Music Track:

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