Dvorak: Symphony No. 9

Any Dvorak enthusiasts out there? If you are one, I need some advice please on choosing a CD recording of his Symphony No. 9. I took a chance and bought one conducted by Solti (VSO? not sure) on a London Decca label. The 1st movement was spectacular, just loved it. But in the Largo movement (2nd), the English horn sounded like it was stuffed inside a pillow. It sounded vague and aloof. Turning up the volume made it louder but was still lacking the nostalgic sound quality I was listening for in the English horn solo. I don't blame the soloist but I do blame the sound engineers. The woodwinds also sounded like they were recorded at a disproportionately low level. The 3rd movement was fine and the 4th magnificent in sound and performance. The local CD shops have recordings of Dohnanyl with the Cleveland Symphony, Jarvi with the Scottish National Orchestra, and an older ADD recording of Ormandy with Philadelphia Orchestra. Do you recommend any of these ? If not, what is your favorite recording? TIA

No, that's the set I have. (If Kertesz had lived, he might have been my favorite conductor, even over Haitink.) But its 9th is his second recording; the notes say the first recording he ever made was of the New World symphony, and I'd like to compare them.

This was a much-discussed question at the time it was written and has been since. Dvorak said he did not use any themes from Spirituals, but wrote the Largo theme in the style of them.

Are Ancerel's recordings available on CD? Can anyone compare these two conductors for this music?

No, to your first question. I don't think the English horn part in the Largo movement is based on that particular spiritual song. At least, speaking for myself only, I was never able to discern it. But it does indeed have that quality. The Negro spiritual songs which he heard during his visit to America certainly inspired his genius and creativity so much so that he was able to write his own spiritual song.

For further reference see:

Yes, I know and I love the words. Not too long ago I heard an acappella chorus performance which was so enchantingly subliminal.

He WAS stuffed inside a pillow. He had become quite unruly, and it was late. Sorry, but it was the only way.

Look, these things happen.

In fear that I sound to academic and nosy I want to add some words to this reference.

This article depends most on 'american' sources. Dvorák's time in the US, and the things he said there. What is very interesting about the symphony is that some major characteristiques are already there in several pieces he wrote before he went to New York for the first time. In pieces like the Overtures 'Nature' and 'Carnival' he sometimes adepts this 'american sound'. These works were written almost two years earlier. And his Te Deum, still written in Czechia also has an 'american' sound, although he had been studying 'american' music at that time. The symphony sounds more a bit like Chadwick's second symphony op.21, that was witten 5 years earlier. Interesting is that in his opinion all the things Dvorák said about the future of american music was nonsence. Music had to stand on its own (like Brahms' vision), in stead of being based on something at all.

There is also some information that parts of the symphony are made from material Dvorák had hoped to use in his opera Hiawatha. An opera, commisioned by Miss. Thruber, but failed. Dvorák has once sort of admitted that the second part of the symphony was based upun the music he had in mind for the burial of Minnehaha. In this line of sight the third part was based upon the weddingdance of the Pau-Puk-Keewis. By the way, the trio of this scherzo is a Sousedská, which is a Czech dance.

(I hope I didn't step on to many sensitive american feet)

Sebastiaan

>Actually, there is as tune in Dvorak's 'New World' in the FIRST >movement that has some similarities to 'Swing Low, Sweet Chariot' >(first played by solo flute, then taken up by the orchestra). The >English Horn theme of the second movement has the character of a >spirirtual but is pure Dvorak. Someone later added words to it and >called it 'Goin' Home,' but Dvorak's tune came first. help, it seems nwo I'm mising up the two symphonies. IF the *9th* is the one that starts with that 'wild' intro adn the *8th* is the one with the calm vilin start, I can't recognzie any spirituals or other melodies in both of them. Sorry; i've been itno classical music for jsut a year or so (And these are the only dvorak's I know) I just played all the sequences I can remember in my head adn I don't hear it.

peace yvonne

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