Customer Reviews

Dvorak: Symphony No. 9 "From the New World"

5 star:		(15)
4 star:		(3)
3 star:		(1)
2 star:		(2)
1 star:		(1)

 

 

I rarely borrow other reviewers' words - but here, the others who have reviewed this CD before me have used very apt phrases, and I agree completely. Here's a summary of what the others have been saying in praise of Solti's magnificent performance of Dvorak's New World Symphony:

"Interpertations like these make for musical moments of pure pleasure ... intensely dramatic ... he seems to emphasize the raw emotional power of Dvorak's score ... sound ... is surprisingly first rate for an early digital recording ... Solti's trademark driving intensity is very much in evidence ... the climaxes in the first, third and final movements (are) absolutely hair-raising ... a good performance that revels in the sheer power of this music ... the first CD I have to replace due to over-playing ... Absolutely amazing ... Simply the best interpretation of Dvorak's 9th symphony in recent years ... a must have for serious music lovers ..."

Perhaps the only thing lacking here are some subtleties of interpretation, and for a truly "classic" interpretation one might need to listen to Kubelik's version. But the intensity and fire of Solti's version more than, repeat, more than, makes up for that lack of subtlety in places. I listened to Kubelik long before I listened to Solti's version, of course, and it's RARE INDEED for me to change a preference from the "first" recording to a later one.

Solti works pure, raw magic with this recording. Writing a review for this CD, I only feel like heaping adjective upon adjective, all of them positive. Granted that Dvorak does not rank "up there" with Beethoven and Schubert, but the New World is certainly his greatest work - and in those magnificent movements, the first, second, and fourth movements of the New World, Dvorak comes as close as anyone ever did to the Masters.

And Solti knows what it is that makes us love Dvorak and the New World, and he exploits the power of the CSO to its fullest.

I remember, as a teenager, listening to the climax of the first movement, - the hair would literally stand on end! - the heart would pound, the fists would clench - the raw animal AND the most sublime within me would awaken at the same time! - this, this is music at its finest, I would feel.

No-one but Solti made the New World sound so good. I do not say that this is the finest recording of the New World ever done, or that it is the most authoritative interpretation; I say that this is the most rousing, most powerful, most splendid New World ever done.

It may seem perverted to single out "moments in music" that have had the most lasting impression on the ear, heart and soul; but if I were to do that - if I were to single out some of those finest moments, the climax of the first Allegro of the New World, by Solti and the CSO, would rank right up there with some of Mozart's, Schubert's and Beethoven's finest. I seldom listen to this CD, for fear that I will explode.

The Chicago Symphony Orchestra shines in this recording under the direction of Sir Georg Solti. From the delicate second movement to the robust finale, the Chicago Symphony Orchestra shows its musical dexterity, performing every note with the greatest musical sensibility. Simply the best interpretation of Dvorak's 9th symphony in recent years, this performance is a must have for serious music lovers.

This will probably be the first CD I have to replace due to over-playing. This is a must own CD for anyone who enjoys music. I first heard this particular recording in college and spent the next year hunting down this disc. Absolutely amazing!

Any great piece of music lends itself to different, sometimes radically different, interpretations. Dvorak's "New World" is a case in point, but especially so since music critics and others in the know have differing perspectives on the work. I've heard it called by some "the homesick symphony"; this, of course, implies that despite the use of native American musical material, the symphony doesn't really depart from the approach Dvorak took in his other eight symphonies. Basically, this is Czech music "on holiday." A conductor who feels this way about the work might, then, emphasize the nostalgic mood of the symphony, a strain that's evident in Dvorak's late compositions, such as the Cello Concerto. Most Czech conductors I've heard seem to approach the piece from this angle.



For Solti, though, the "New World" is about the New World as imagined by an Old World composer. I don't say "as seen by an Old World composer" because Dvorak seems to want to convey the sense of awe inspired by being in a country the vast spaces and majestic vistas of which he was to see only parts. But I think the striking cover illustration is to the point: this is a symphony of the imagination as much as of the eyes and ears. That sweeping first movement clearly captures the imagined grandeur of the New World--both natural and man-made--and Solti is the perfect tour guide, choosing tempi that are uniformly fast though not breakneck and of course powering the movements by dint of that great Chicago brass section. Yes, in spots the effect is "hair-raising," but so, too, must have been the experience of rail travel from teaming New York City west to Iowa over the Appalachians and the Great Plains.



The magnificent Scherzo, Dvorak's tribute (I think) to Beethoven's Ninth, has never sounded more vibrant--here, it is Czech furiant meets American barn dance. Yet the slow movement is not lacking in poignancy. On the contrary, this is one of the more moving interpretations I've heard. Solti shows that nostalgia and dynamic energy can coexist in a single work.



Alas, as in Dvorak's Eighth Symphony, the last movement is the least inspired, but Solti does as much as anybody can with it. And the Decca engineers turn in one of their best jobs out of Chicago. The sound is big and punchy, of course, but not without a sense of the hall, which is sorely lacking in some Chicago recordings.



I've loved this peformance for a long time and hope others will treat themselves to it, even if they already have two or three recordings of Dvorak's most famous symphony.

Basically any of the CD's I buy now, I buy with the Chicago Symphony Orchestra. I have even replaced some of my older less precise and intense recordings with those of the CSO, since they are my favorite orchestra.Such was the case with this recording. I bought thinking that with Solti and the CSO, nothing could go wrong and almost nothing did. The first movement is appropriately austere. The third movement, though I tend to dislike scherzi especially before a finale (as they seem to be a cheap easy way to get to a finale), is also powerful like the first movement. The finale in my opinion, however, is the real winner. It would be worth getting this disc just for the finale. It is positively savage at the beginning. It also seems as if the brass were unleashed (like the Shostakovich 7 recording with Bernstein)and thus give unrelenting energy that leads to the inevitable conclusion. If you are using this to say that it is Dvorak brutalized, if you are not a fan of heavy brass that bring weight and energy to a work, then this disc is not for you. I personally, however, do not like wimpy recordings and this one is a far cry from it. The only disappointment was the start and finish to the second movement. To me, the chords sounded mushy and were far from being full chords, unusual for the Chicago brass. But that should not be a deterance from any of you who are thinking of buying this disc. The chords aren't bad, just not full enough. The coda of the finale makes up for it. It gives me goosebumps all the time and is seriously hair-raising.

While Solti's Chicago Symphony Orchestra account lacks the warm lyricism of Masur and the New York Philharmonic or the refreshingly fresh, vivid look from Harnoncourt and the Royal Concertgebouw Orchestra, it still remains as one of the better releases of Dvorak's 9th Symphony currently available. Solti's conducting is intensely dramatic, and here he seems to emphasize the raw emotional power of Dvorak's score. The Chicago Symphony Orchestra gives a fine performance, though one marred by the occasional shrillness of both the woodwind and horn sections. The sound quality is surprisingly first rate for an early digital recording. Those interested in another strong interpretation of this symphony may be pleased with this recording.

Antonin Dvorak was born in what is now the Czech Republic. In the 1890's he visited America and developed diverse thematic material for a new symphony, which he would call "From the New World", his 9th. This recording is possibly the greatest interpretation commercially available, and certainly one of the more brand name recordings. I have heard rave reviews about the Karajan version, Bernstein version and even Eugene Ormandy version. But George Solti, no stranger to large-scale orchestral music (having conducted Wagner's Ring on studio recording) is very expert in conducting this Romantic, almost modern work that uses American themes. The opening adagio-allegro is powerful and dark, while the Largo is spiritual in its slower pace. This is where the American themes tie in. The Largo is better known as "Going Home" a Spiritual sung by African slaves in the South. On orchestra, this theme sounds far more poignant and bittersweet. The Scherzo movement is a tad reminiscent of the scherzo from Beethoven's 9th (Dvorak was of course an admirer of Beethoven and since this was his 9th, perhaps he intended to echo it a bit)Musically, it is of course appropriate to the structure of his symphony. It even paints the picture of wild horses running across the plains. The Fourth movement and finale, marked "allegro con fuoco" -Italian for "allegro with fire" is indeed fiery and fatal sounding. It has strong accents and fortissimos and conjures the image of an Indian War Dance. This music is indeed very American, though at this time it lacked jazz to make it complete. It would not be until such later American composers as Aaron Copland and Charles Ives that wrote American symphonic music.

Solti applies his Chicago magic to Dvorak and...well, maybe not the most definitive interpretation, but difficult to resist any solid showing of the best orchestra in the world.

Believe it or not, this was the first classical cd I ever bought, about 15 years ago. Now, after listening to literally over hundreds more, this still holds a fervent piece of my heart.
I cannot add any more accolades than the many eloquent ones already written here. Still, this recording is the main reason why I started to love, and will always love classical orchestral music.
If you love Solti and the Chicago, I also recommend his mid-80`s Mahler No. 4, mid-70`s Beethoven No. 5 (NOT his digital 80`s version), and Brahms Piano Concerto #1 with the Vienna and Andras Schiff, all on Decca.

Dvorak's Ninth Symphony is fraught with pitfalls. Dvorak was notoriously inconsistent in his notation and left dozens of ambiguities in this score, all of which must be resolved to create even a modestly successful performance. What's more, Dvorak's tempo relations are not clearly established (Dvorak himself approved of massive tempo changes recommended by Anton Seidl, who conducted the premiere) so the piece is incredibly difficult to pace and structure. Enter Georg Solti, who always had best sense of architecture when conducting. Solti makes sense where other conductors simply read through. The Chicago Symphony responds in electric fashion, with their trademark power and precision. If there is one complaint, it's the very last chord, which fails to hold pitch while the winds decrescendo. But never mind! This is the only Dvorak 9 you'll need to buy.