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ClassicsOnline Home » DVORAK, A.: Symphony No. 6 / Nocturne / Scherzo capriccioso (Baltimore Symphony, Alsop)
Widely acclaimed for their Naxos recordings of Dvořák’s Symphonies Nos. 7 and 8 (8.572112) and No. 9 ‘From the New World’ with the Symphonic Variations (8.570714), Marin Alsop and the Baltimore Symphony Orchestra here present his Symphony No. 6, which pays tribute both to Dvořák’s mentor Brahms and to the rich folk music of his Bohemian homeland. The Nocturne is an arrangement for string orchestra of the beautiful slow movement from his Fourth String Quartet. Suggestive of a celebration of Nature, the Scherzo capriccioso is one of Dvořák’s most masterful and colourful works, with a winning principal waltz theme.
Dvorak Symphony no 6 Marin Alsop
This new CD from Naxos contains three of Dvorak's best-loved works, all performed by the Baltimore Symphony Orchestra under Marin Alsop. To attempt to put onto CDs yet another Dvorak symphonic cycle might seem to be economic folly, because these works have been so heavily recorded for the last 60 years by many major orchestras and illustrious conductors.
So, measured against this seemingly overwhelming opposition, how does the Baltimore team fare? I find these performances absolutely delightful, and hope for more recordings of Dvorak's symphonies from them. The sixth symphony is beautifully played, and Ms. Alsop treats us to glorious sounds from the orchestra, yet, it seems to me, she pays great attention to all of the nuances and details that together make this a superb symphony. Similarly, the Nocturne receives a fine performance. The final work on the CD is the Scherzo capriccioso, Op. 66, and here we come to a discussion point - timing vs. performance. Music critic David Hurwitz (whose opinion I generally respect) calls Alsop's performance "dreary." I disagree profoundly. Certainly, at 15:04, Alsop's timing is the longest of several that I checked, yet to my ears the performance does not drag; on the contrary, she begins crisply, which seems correct to me, and again pays attention to details and brings out the work's lyrical sections beautifully. The fastest performance to which I have access is that by Kosler, who takes 12:55, yet that performance begins languidly; speed isn’t everything!
Naxos annotator Keith Anderson's program notes are excellent, as usual, and the sound quality is superb; in my opinion, Dvorak fans can hardly go wrong with this budget-priced CD.
There are at least two distinct ways to approach Dvorak's Sixth Symphony. Treat it as a deeply serious symphonic masterpiece (as the great Czech conductors Vaclav Neumann and Rafael Kubelik did) or allow it unwind gracefully as an endless river of song (Istvan Kertesz and now Marin Alsop). Both approches have their merits.
Neumann's recording captures the Czech Philharmonic at the peak of its form. The interpretation may be subdued, but the score's brilliant colors have never come through more vividly. Kubelik had the Berlin Philharmonic, but his stodgy reading and the flat, dull DG sound take his disc completely out of the running. Kertesz has all the joy and lyricism that's missing from Kubelik, and his London Symphony sounds nearly as opulent as Neumann's intrepid band.
Alsop follows in the exuberant footsteps of Kertesz and Leonard Slatkin, whose delightful St. Louis Symphony recording was once available in a limited edition set issued by the orchestra. Her allegros sail along, and she always has a smile on her face--rather like her teacher, Leonard Bernstein. Her tempos are invariably well chosen, and every bar sings. The scherzo could be more c, but the blazing finale more than compensates for this minor lapse. The bold sound of the brass in the coda will have you jumping to your feet to shout bravo as the performance ends. The strings seem reedy compared to Supraphon (Neumann) and Decca/London (Kertesz), but otherwise the recording is clean and clear.
The "Scherzo capriccioso" is quite similar in style to the Sixth Symphony, alternating joyous outbursts with richly lyrical writing. Alsop's performance is every bit as charming as Neumann's. (Was his delightful Nonesuch LP ever issued on CD?) And her Nocturne is quite touching, if not nearly as languorous or intense as Neumann's heart-rending reading.
Overall, though, this is a splendid introduction to these three great scores at a bargain price.more....
By Richard Lawrence
By Bill Gowen
Daily Herald (IL)
By James Inverne
Antonín Dvořák (1841–1904)
Symphony No. 6 • Nocturne • Scherzo capriccioso
Antonín Dvořák was born in 1841, the son of a butcher and innkeeper in the village of Nelahozeves, some forty miles north of Prague. It was natural that he should at first have been expected to follow the family trade, as the eldest son. His musical abilities, however, soon became apparent and were encouraged by his father, who in later years abandoned his original trade, to earn something of a living as a zither player. After primary schooling he was sent to lodge with an uncle in Zlonice and was there able to acquire the necessary knowledge of German and improve his abilities as a musician, hitherto acquired at home in the village band and in church. Further study of German and of music at Kamenice, a town in northern Bohemia, led to his admission in 1857 to the Prague Organ School, where he studied for the following two years.
On leaving the Organ School, Dvořák earned his living as a viola player in a band under the direction of Karel Komzák, an ensemble that was to form the nucleus of the Czech Provisional Theatre Orchestra, established in 1862. Four years later Smetana was appointed conductor at the theatre, where his operas The Brandenburgers in Bohemia and The Bartered Bride had already been performed. It was not until 1871 that Dvořák resigned from the orchestra, devoting himself more fully to composition, as his music began to attract favourable local attention. In 1873 he married a singer from the chorus of the theatre and in 1874 became organist of the church of St Adalbert. During this period he continued to support himself by private teaching, while busy on a series of compositions that gradually became known to a wider circle, particularly with the success of his Hymnus: Dûdicové bílé hory (The Heirs of the White Moutnain) for the Prague Hlahol Vocal Society.
Further recognition came to Dvořák in 1874, when his application for an Austrian government award brought his music to the attention of Brahms and the critic Eduard Hanslick in Vienna. The granting of this award for five consecutive years was of material assistance. It was through this contact that, impressed by Dvořák’s Moravian Duets entered for the award of 1877, Brahms was able to arrange for their publication by Simrock, who commissioned the Slavonic Dances, for piano duet. The success of these publications introduced Dvořák’s music to a much wider public, for which it held some exotic appeal. As his reputation grew, there were visits to Germany and to England, where he was always received with greater enthusiasm than might initially have been accorded a Czech composer in Vienna.
In 1883 Dvořák had rejected a tempting proposal that he should write a German opera for Vienna. At home he continued to contribute to Czech operatic repertoire, an important element in re-establishing national musical identity. The invitation to take up a position in New York was another matter. In 1891 he had become professor of composition at Prague Conservatory and in the summer of the same year he was invited to become director of the National Conservatory of Music in New York, an institution that was intended to foster American music, hitherto dominated by musicians from Europe or largely trained there. Whatever the ultimate success or failure of the venture, Dvořák’s contribution was seen as that of providing a blueprint for American national music, following the example of Czech national music, which owed so much to him. There were musical results in his own work, notably in his Symphony ‘From the New World,’ and chamber music of the period, works that rely strongly on the European tradition that he had inherited, while making use of melodies and rhythms that might be associated in one way or another with America. By 1895 Dvořák was home for good, resuming work at the Prague Conservatory, of which he became director in 1901. His final works included a series of symphonic poems and two more operas, to add to the nine he had already composed. He died in Prague in 1904.
Dvořák wrote his Symphony No. 6 in D major, Op. 60, for the conductor Hans Richter and the Vienna Philharmonic Orchestra in 1880, but the prejudices of certain members of the orchestra towards the Czechs and their unwillingness to allow the inclusion of a new work by a new Czech composer so soon after the successful performance in 1879 of the Third Slavonic Rhapsody allowed Adolf Čech, once the composer’s colleague in the St Cecilia Orchestra during student days, to give the first performance in Prague early in 1881. The following year August Manns conducted the symphony at a Crystal Palace concert in London, and three weeks later Richter, to whom the work was finally dedicated, added a further London performance of the work he had commissioned. The first Vienna performance was given in 1883 by Wilhelm Gericke for the Gesellschaft der Musikfreunde. The symphony is scored for the usual pairs of woodwind instruments, with piccolo, four horns, a pair of trumpets, three trombones and tuba, timpani and strings.
The similarities between the symphony and Brahms’s work in the same key have been pointed out, although Dvořák’s symphony bears the stamp of his own genius at its height and may be heard as a tribute to the man who had earlier given him timely help in his career. The symphony opens with repeated accompanying chords played by horns and divided violas, above which the principal theme gradually appears. There is a superb slow movement in the key of B flat, followed by a Scherzo bearing the subtitle Furiant, a Czech peasant dance, with a contrasting trio, pierced by the piccolo in pastoral mood. The strings open the Finale with a long-drawn Brahmsian theme, joined by the wind and swelling soon to triumphant dimensions in a thoroughly satisfying conclusion.
The Nocturne in B major, Op. 40, was arranged first for violin and piano from the Andante religioso slow movement of Dvořák’s String Quartet No. 4 in E minor, and forms the basis of the string orchestra version, apparently completed in 1875. It was published in 1883 and heard the following year in London, when it was included in a programme conducted by Dvořák at the Crystal Palace, where Elgar was soon to have his first work played in London.
Dvořák wrote his Scherzo capriccioso in the spring of 1883. It is among his most successful works, fully characteristic of the composer at his best, with a winning principal waltz theme. The work was composed at a time when Dvořák’s reputation had resulted in an invitation to London and an offer from Vienna for a German opera. The first he accepted in the following year, but he decided against Vienna, preferring to remain loyal to Bohemia and the cause of opera in the Czech language.
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