Customer Reviews

Dvorak: Symphony No. 9 - From the New World, Op. 95 / Carnival Overture / Slavonic Dances Nos. 1 & 3

5 star:		(11)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

Personally, I can't believe that I am the first person to review this Dvorak 9 on Amazon.com. I have grown a special affinity for the 9th Symphony of Dvorak. Previously, I have purchased many recordings of the 9th: two by Karajan, two by Kubelik, Maazel, Dohnanyi, Previn, and a few others. Although I have a like for all of these, something must be said of Bernstein's recording here. He brings to this symphony a spontaneous and crisp freshness. Many of the tympani rolls are emphasized a little more than other recordings. The third movement is something quite impressive. Immediately you can tell that the pace is faster than most other recordings. It doesn't sound rushed. Rather, it shows the skill of the New York Philharmonic and the pure fun that a Scherzo can be. As the symphony reaches its final notes, I can't help but have that same feeling of satisfaction that I had the first time I heard it live. Also, although this was recorded in the 60s, the sound is incredibly revealing. Don't be scared off if you're a hesitant buyer when it comes to non-digital' recordings.

I enjoy this recording of the "New World" very much, perhaps more than any other of the half dozen or so recordings I have of the work (with the possible exception of Harnoncourt's recent recording with the Concertgebouw on Teldec). What is exceptional about this recording is its freshness and clarity and a sense of total involvement by the musicians. The louder and softer sections are heard equally well. I noticed this especially at the end of the famous Largo. If you judge a performance of this symphony primarily by this movement, there is much to enjoy here. All the tenderness is brought out wonderfully without over-sentimentalizing too much. The third movement scherzo is taken considerably faster than is conventional, but it is held together well and seems somehow the correct tempo. The Carnival overture is a little gem of a piece, also played well, and the dances are two of Dvorak's most well known.

Dvorak's 9th is easily one of the most famous pieces of classical music, and certainly I share in the love that many have for this piece. I know it very well, and thus it's been hard to find a recording that truly agrees with me.

I hate to give such a difference of opinion here, but I really do not have the same opinion as most people seem to with this recording of Dvorak's 9th. The reason for this is mainly the second movement; for whatever reason, many conductors take this piece at a tempo that to my ears just seems very slow and pondering. Yes, it is an adagio, but it is also a very song-like melody that needs to flow, and Bernstein here simply does not put forth the forward movement that to me is needed here. In the 4th movement, also, he seems to slow and speed a bit too eclecticly that grates on me, though the music is marvelously played with wonderful brass.

On the flip side, there are the first and third movements. Simply put, this is the finest rendition of the first movement I've ever heard. It contains all the enegery needed, and what is possibly my favorite musical moment ever -- the spot where there is a low flute solo at the end of the exposition -- is so beautiful I want to melt. So to the third movement is great, though perhaps a bit TOO fast (better too fast than too slow in this case, though), and if it weren't for the second movement's problems I'd say that these two movements make this a must buy.

As for the rest of the CD, it too has ups and downs. On the up is the Carnival Overture, given a fine performance full of excitement and vigor. On the down, however, are the Slavonic Dances, which lack excitement and vigor, and like other parts of the CD are just too slow. Of course, I also think that the dances need to be heard in at least the set of 8 if not all 16.

So I really can't recommend this CD, though I see that many people seem to enjoy it. My advice is that if you are like me and like the 2nd movement of the New World on the faster side, then stay far away.

This performance of the classic "New World" symphony, in my opinion, is the best available. First of all, the remastering is outstanding, the performance is absolutely complete (following all the composer's 'repeat' indications in the score (something rarely heard or adhered to). The only thing I find to be somewhat disappointing (although really not a complaint) is Bernstein's breakneck tempi; this is a pet-peeve of mine applicable to almost every present-day or recent conductor. Slow it down man! This recording is so far the only one I'd recommend to new listeners. BRAVO

Had some fun comparing Dvorák 9ths lately. My favourite four are/remain the same, in ascending order: Bernstein/NYP (1962) takes the Largo too slowly (admittedly to great effect), then the Scherzo at a breakneck pace (impressively but unnecessarily so, I'm afraid), a fun reading, well-executed and -recorded. Fricsay/BPO (1959) is broad, dramatic, weighty, well-played and -recorded. Ancerl/CPO (1961) sounds the most Czech and idiomatic of all, a lithe, lean and agile reading whose sound quality comes out very well in the most recent remasterings (also available as XRCD). Kertész/VPO (1961) brings together the best qualities of them all, and still sounds great in the latest Japanese remastering (also available as Esoteric SACD hybrid, which I haven't heard yet), and remains my top favourite (but I like interpretive variety, which one will get on the highest quality level owning all four of these recordings). The Kertész/LSO (1966) sounds curiously "flat" (as others have observed here and elsewhere) in comparison, too much of a déjà vu perhaps, but it's still in the league (or close) of other good recordings, such as those by Horenstein, Kubelik, Neumann, Reiner, Szell and Talich.

Wholeheartedly recommended, albeit not as an only version. Nice fillers (other Dvorák 9ths come without any), by the way, with the 1965 Carnival Overture possibly my favourite recording of the piece.

Greetings from Switzerland, David.

Overview:

Dvorák's New World Symphony is one of my favorites and so I decided to try to find the best rendition based upon my personal view of the work. I was looking for a performance which included a particularly emotive Second Movement (Largo) along with an overall tight performance by the orchestra. To facilitate that end, I first garnered recommendations from participants in Amazon's Classical Music forum. The participants there gave me some terrific suggestions and I ended up with eleven CDs of the work. I played all these performances over and over, making copious notes on each, that I might be enabled to review each one here on Amazon.

I gave all these CDs five stars each chiefly because I fancy this particular symphony so much but some performances were clearly superior to others. To winnow these out so that prospective buyers would have some gauge for deciding which they might want to buy, I additionally assigned my own ranking to the respective CDs, rating them here 1 through 11, Number One being the best. Where my personal thoughts on any two symphonies equaled out, I then fell back upon the secondary material found on each the CDs as a tie-breaker, (only one CD featured the 9th Symphony by itself with no additional selections.) Finally, Amazon only permits a total of 10 links per review so you'll have to check the last ones manually.

Descriptive Summary:

If you're already familiar with Dvorák's New World Symphony then you might wish to skip this part of my review and go directly to the Evaluative Summary.

This is perhaps the best symphony for newbies to Classical Music to hear in terms of piquing their interest for further study and listening. (One could argue that Tchaikovsky is the best gateway composer for this purpose but Dvorák runs at least a hot second.) Dvorák's musical images of America are highly romanticized and yet they stick - they represent a relevant and hopeful commentary on a nation emerging from a past age into a new and exciting epoch.

Antonin Dvorák was a Hungarian Composer who is especially famous for his love of his home region's folk music (Bohemia, now Czechoslovakia) which he incorporated into the bulk of his work. While his "Symphony from The New World" [America] has emerged as his most popular work, his Symphony No. 8 is equally impressive and most people in the know would say that the latter composition is actually his very best.

In regard to The New World Symphony, the story is that he was implored upon by the fabulously rich Mrs. Jeanette Thurber to come to the United States in 1893 to become the Director of the National Conservatory of Music. Tempted by an enticing annual salary he acquiesced to her offer and, during his stay in America (among other works), he composed his famous Symphony No. 9 in E minor, Op 95, also entitled "From the New World."

The dilemma which Dvorák faced as he pondered this symphonic task was this: "What is American Music?" The answer had clearly not been established to date. In the end he fell back upon (what he believed to be) combined musical themes of Native American Indians and of Traditional Spirituals. From the view of an anthropologist the end product hardly represents a true reflection of these "folk songs" but his unique final composition did establish a springboard upon which many subsequent American composers eventually built. Some of Aaron Copland's works might serve as an example of this evolution in American Classical Music. (Rubin Goldmark was a student of Dvorák and Copland a student of the former.) Glenn Dillard Dunn remarked of Dvorák, "...no master of his generation was better qualified to show Americans how to evolve an art all their own." In summary of this frequent musical discussion one might say that Dvorák's 9th ultimately manifested a poster example of life imitating art.

There has also arisen a slight issue which asserts that Dvorák may have actually plagiarized certain portions of the Traditional Spirituals, such as the supposed "Swing Low, Sweet Chariot" allusion at bar 149 - to me, this charge is in reality a simple case of unconscious recollection. People somehow tend to forget that there are only twelve notes from which pretty much all music is derived and when one reduces the field to an obscure genre such as these Traditional Spirituals (or parrots thereof) then there are bound to be some overlapping instances of note sequences.

The 9th Symphony was composed between 10 January and 24 May 1893, the first symphony Dvorák ever began and finished in America, (the 9th was his last). The premier of the work was performed at Carnegie Hall on December 15th (some sources cite the 16th), 1893, Anton Seidl conducting the Orchestra of the Philharmonic Society.

Musicologists are also quick to point out that The New World Symphony is clearly built upon a framework of traditional Hungarian musical artistry. While this is undoubtedly true, this symphony still manifests something that is genuinely American and the monumental kudos and acclaim bestowed upon Dvorák by Americans following the early performances clearly validated this actuality.


Evaluative Summary:

As I mentioned earlier, this is a comparative review of this CD and 10 others. In order of my own personal preference, here is a full list of the ones I evaluated:

Dvorak: Symphony No9; Carnival Overture Op92

Dvorák: New World Symphony & Scherzo-Capriccioso

Dvorák: Symphony No. 9 "From the New World"; Serenade for Strings in E major

Dvorák: Symphonien Nos. 8 & 9 "Aus der neuen Welt"Weiner Philharmoniker, Maazel

Dvorák's New World Symphony and Other Orchestral Masterworks [Hybrid SACD]

Dvorak: Symphony No. 9 / The Water Goblin

Dvorák: Symphony No.9

Dvorák: Symphony No. 9; Sibelius: Symphony No. 2

Dvorak: Symphony No. 9 & Serenade for Strings

Dvorak: Symphony No. 9 & Serenade for Strings

Dvorak: Symphony No. 9 'From The New World'; Carnival Overture; Scherzo Capriccio, Paavo Jarvi, conducting The Royal Philharmonic Orchestra

I'm compelled to confess that I was remiss in not evaluating the Rafael Kubelik conducting The Vienna Philharmonic rendition along with the others I've listed. As to why I did not acquire it, I cannot say but prospective buyers may wish to consider it among the best as it is so remarkably highly rated by those who own it.

In the Bernstein rendition, (my #1 pick) I have to say that he achieves the finest First Movement of all. Among other attributes it's very bright and dynamic. As for the overall I think that its chief endearment is that it achieves power without volume. This performance is boisterous, turbulent at times, and conveys a vitality which is easily felt by the listener.

Bernstein's handling of the Second Movement is totally unique and intricate - it is my favorite Largo of all time. Every note of every scored instrument is heard here. Musical points that I'm certain that Dvorák wanted made are found here and nowhere else - Bernstein didn't invent them, he just brought them to light.

One can practically (audibly) "reverse engineer" this performance for a vivid mental image of the Master Conductor, Leonard Bernstein expressively gesticulating at the podium.

I cannot imagine that the prospective purchaser will find a notable better rendering of Dvorák's Symphony No. 9 than the one on this CD. It runs for a total of 43:15 which is just slightly on the slow side of average but well within the range of acceptability.

The secondary material, the Carnival Overture and the Slavonic Dances, are terrific companion supplements to the 9th Symphony. They clearly achieve the end of capturing Dvorák's Bohemian musical roots. I especially enjoyed Bernstein's singular punctuation of the more lightly played notes. All in all, these are very melodic and pleasant compositions and performances.

Most highly recommended!

Dvorak, in this symphony, invests his essential beliefs in music. He is in New York at the time, the director of the National Conservatory of Music. This symphony shows how Dvorak was able to integrate any influence from the country where he was. Here we can easily identify cross references to Native Americans, Afro-Americans, pioneers and frontier men, and their numerous songs and styles, set in a vast and breath-taking landscape and wilderness. He avoids the massive and majestic force that this immense and wild landscape could produce by injecting, at crucial moments and as essential musical developments that will come over and over again in the various movements, musical phrases and sentences that ring like Indian music, negro spirituals, frontier songs and many others, including some european themes that were brought over by european immigrants and probably by Dvorak's memory itself. It thus becomes a very varied and fascinating lacework of various sources and influences. It gives the real picture of what America is : a both ungoverned and elaborate patchwork of cultures and peoples who never lose their identities but rather bring them into the common bowl of the building of a new world. Some conductors may put the accent on the slavonic or bohemian origin of Dvorak. Some may put the emphasis on the key role this music will play in the emergence of a real American symphonic music. Yet we can always feel the coming of Gerschwin and Grofé and many others in those marvelous pages. This symphony is an essential work to understand the genesis of the American soul in music.

Dr Jacques COULARDEAU

I had $6 in Amazon MP3 credits to use by the end of the month so I downloaded this MP3 album and I just got thru listening to it with my turtle beach sound card and AKGK272 headphones and I enjoyed every minute of it. I foresee myself listening to this many, many times in the future. This is an excellant piece to work to as it keeps your spirits up and it is a good piece to test headphones with. I had been using the CSO/Solti CD version of this symphony for almost 30 years now for these two purposes, but I cannot find that CD and this is a very good substitute.

This is a very good recording of Dvorak 9. It is not the best that I have heard (I can recall a late Karajan and especially the late 50s Szell/Cleavland SO) but Berntsein, the quintessential American conductor, very aptly caputres the spirit of this, a quintessential American symphony. I simply don't feel that Bernstein dedicated his whole self into making this the perfect recording. I can say this honestly because I've heard him come as close to perfection as is possible in several other recordings however I simply do not feel that energy here.

This is a very good recording, top 10 percentile, but it is neither the best example of Dvorak's work nor the best example of Bernstein's work.

There is one thing I would like to say. I am a big fan of the New York Philharmonic, conducted by Leonard Bernstein. During his 11 years as Music Director there (1958-1969), they did alot of great recordings. In the performance of Dvorak's 9th in E minor, everything is very passionate. A very smooth moving Adagio, A little bit slower Largo, A very fast scherzo, and a thrilling fianle. On the closing pages, Bernstein tries to keep everything very triumphant. He holds that very last note a little bit longer. This recording was made in 1962 and it is very thrilling. Enjoy!