Customer Reviews

Dvorak: Symphony No. 9; "From The New World"

5 star:		(6)
4 star:		(3)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

Antonin Dvorak (1841 - 1904): Symphonic Variations, Op. 78; Symphony No. 9 "from the New World", Op. 95. Performed by the Baltimore Symphony Orchestra, dir. Marin Alsop. Recorded at the Joseph Meyerhoff Symphony Hall in Baltimore, Maryland, from 8th to 10th and 14th to 17th June, 2007. Published in 2008 as Naxos 8.570714. Total playing time: 64'44".

Thank heavens that, as an early music fan, I have nothing to do with all the petty squabbling and jealousies which seem to surround certain classical music artists. I have just been listening to this CD on good stereo equipment (see my profile; I find it ridiculous that people actually write reviews after just hearing this on the radio or after downloading it, presumably in some low-quality compressed format.) What I heard was a beautifully crafted, warm and light, only occasionally idiosyncratic version of Dvorak's "New World", played by first-class musicians and captured, by Naxos standards at any rate, in superb stereo sound which reveals all the detail in a natural and very pleasing acoustic. The thundering brass of the last movement came over really well, the English horn of the Largo was evocatively played, the rhythms and the dialogue between the sets of strings and woodwinds were all not merely audible but also revelatory. The Largo was taken at a fairly relaxed pace, made up for by what I take to be some rather odd tempo variations in the Molto Vivace (although I am judging this from previous hearings of other performances, I don't own a score). But generally I would say that this is a recording of which Naxos can be proud and which may well prove to win many for classical music, which is what it's all about, I guess. Very pleasing indeed! - The disc opens with the "Symphonic Variations", which are not nearly as dull as another reviewer has suggested. In fact, if you listen to them on good-quality headphones, you will hear not only some extremely fine, well-crafted music, but also some excellent musicianship - I had never realized that the strings could sound so sweet in places, and also the flutes made my heart beat a little faster. The whole disc makes Naxos's first attempt (a recording by Stephen Gunzenhauser with a Slovakian ensemble) pale into insignificance. At the Naxos price, nobody can go wrong here - and I beg casual listeners not to pay too much attention to the somewhat bitter remarks made by those who always seem to know better.

I just downloaded this and wanted to see what others were saying about this recording and discovered a single star. Sorry but this is a very decent recording of an old chestnut. It is worth more than a single star. I can't count how many time I have heard this piece played on recordings over 40 years. Alsop's interpretation is a good one and the recording is decently priced. I really do not think that anybody can claim to the greatest recording of this piece since most of the recordings of this are older. I also find that there is a good controlled emotional aspect to this recording. I realy do believe that this recording deserves a listen and the Naxos price is always good.

The conductor's name was just a name to me until this recording came into my collection, more or less from mere curiosity.
Usually I'm suspicious of "No name" conductors, and usually the result confirms it. I have 40-odd readings of this work, of which probably half would not be missed if they burnt to a cinder. Accordingly I had a pleasant surprise on auditioning this album.
There is a splendid brio to it, an ample sense of forward drive, without the kind of exaggeration that Szell favoured. Rhythms are nicely profiled, climaxes well judged and executed, and the orchestra play really well. The balance with the brass section is also more than adequate. No qualms on that score. The first movement, despite its unnecessary acceleration on the last page is an undoubted success. Better readings than this don't come by the dozen, I assure you.
The slow movement is also finely crafted; I like especially the subtle way the basses fade in and out: they are a presence, but not too obtrusive or abrupt as is often the case. This is being so, I feel that the reeds should also have attacked the first notes of their tunes in this manner, but to change a wind players habits might require the authority of a big ego conductor!?
The scherzo is a slight downside. Strangely, the rhythms, although snappily placed, seem the wrong kind here; this is after the manner of Dvorak's slavonic dances and their sharp etching leaves us with rigorously "symphonic" rather than "folksy" feeling - similar to the way that Beethoven turned the Menuet into a scherzo; but this is precisely not the Beethovenian type of scherzo.
The last movement redeems matters again. In fact it is probably the best movement of the recording, and therefore leaves us with a good feeling when it all ends. As in the first movement, the conductor adopt a brisk tempo, but builds climaxes with good judgement and avoids the temptation to drive too hard. The brass section have a field day here, evidently encouraged to blast away to their hearts content, and they paint a splendid patch of gold over the proceedings.
The performance of the Symphonic Variations is of a quality to match.
The recorded sound is brilliant, without being overly bright. It sounds close, but natural, and no-one could complain about it. Both soli and tutti sound in character for an orchestra, and one is grateful that the mixer has left his witches cauldron of buttons and dial largely untouched.

I heard this performance on the classical radio station. It truly was a wonderful concert; certainly the best performance I have heard of the 9th. I ordered it at once. The quality of this performance coming from Baltimore is great. It is a tightly woven yet sensitive musical experience, and the musicianship is every bit as good as you expect from New York, or Berlin.

However................even though this performance is great, the CD has little (or possibly no) sound editing. It is only possible to listen to at home with absolutely no extraneous noise or it requires noise cancelling earphones. The dynamic ranges are so great that you have to strain to hear the soft passages without turning the level up to an almost uncomfortable level. At the dynamic level my wife and I usually listen, the soft passages disappear completely. It would never be possible to play this CD in an automobile.

The serious music radio stations utilize a great deal of compression while broadcasting, and so I was captivated by a performance which really didn't come from the CD. It is only possible to enjoy this performance if you apply a great deal of dynamic compression with a sound editor and then replay it, or if you have the sophisticated sound equipment which can apply dynamic compression during playing. If you have the usual audiophile equipment you might as well save your money until some decent editing is done with this CD and it is released as a different edition. If you are one of those few people with the equipment I mention, buy it. If it weren't for the editing, or lack of it, this is a 5 star performance.

The Symphonic Variations of Antonin Dvorak were composed in 1877. Legend has it that Dvorak was challenged by a friend to write variations on a particularly difficult theme and the composer more than answered the challenge. There are 27 variations and a closing fugue that demonstrate Dvorak's remarkable ability with the variation form. The music is witty and inventive. The famous Symphony No. 9 was written in 1893 while Dvork was the director of the National Conservatory of Music in New York. The music was influenced by spirituals and the popular songs of Stephen Foster but remains distinctly Czech.

This is a magnificent performance of the "New World" symphony with the Baltimore Symphony Orchestra, conducted by Marin Alsop, bringing drama and warmth to their reading. This is especially true of the fir movement with the slow introduction is beautifully phrased and the main melody busts in with all the power one would want. The Largo of the symphony is particularly noteworthy for its song-like presentation, giving full weight to the lyrical qualities of the music. The Scherzo is nicely played with the right mix of playfulness and drama, and the Finale is beautifully expressed. For me, this recording made me take a fresh look at a very familiar symphony.

The Symphonic Variations is a neglected work and, like the symphony, receives an affectionate performance that brings out the inventive orchestration and the brilliance of the variations. Maestro Alsop brings out the subtle colors and details of the music and the Baltimore Symphony plays with enthusiasm and a clear love of the music. The recording is beautifully balanced and vivid.

Marin Alsop is far from my favorite conductor, but her new CD of the Dvorak 'New World' doesn't deserve the lamebrained reviews it's gotten here so far. The program begins with a committed reading of the less-than-inspired Symphonic Variations; the music shows a sore deficiency of interest. Ms. Alsop shows a deft touch throughout, but I have never been able to sustain enough interest in this work to get to the end, and I didn't this time.

Her 'New World' is appealing for one great virtue: it is unfussy and unpretentious. The mood is considerably lighter than in any other version I've ever heard. Instead of making the Scherzo sound rustically Czech, for example, Alsop takes it like a tarantella, whirling and light on its feet. The reviewer who implies that this is a studied account has rocks in his ears. It's practically effervescent -- clearly the conductor wants to pull us away from the kind of inflated interpretations one hears from big-name conductors in Vienna and Berlin.

The Baltimore Sym. backs her up with comitted playing, more lightweight at times than I'm used to hearing but skillful throughout. (I don't hear really talented woodwind or brass soloists, however.) After a truncated period under the great Yuri Temirakanov, ensemble sounds crisp, and one must say that Naxos has come a long way form its early use of third-rate Eastern Euroepan orchestras. As for shortcomings, Alsop can't maintain dramatic tension when the music gets soft, and her transitions tend to be mechanical rather than expressive. Still, this reading has a real personality and strikes me as one of her best.

First of all, I have to agree with the positive reviews. I happened to listen to this version on the radio, the night of the Independence Day this year, July 4th, 2009. It was very inspiring, and right away, convinced me to buy the album. Oh yes, it was my awakening moment. I never knew Dvorak could be this fascinating. I have heard some good ones and bad ones of the New World Symphony; frankly speaking, I was tired of listening to this song--like Vivaldi's Four Seasons, the most recorded, overpopulated piece. Now, I feel like I've seen a real new world listening to this one. Now, I really appreciate Dvorak's works. In addition, I was pretty surprised to discover that it was performed by Baltimore Symphony Orchestra instead of some other famous fancy names I was expecting. As a result? Good price, too!!!

Having just heard this recording on the classical station on July 4th, I have to say that it is an inspired reading. Clean, with tempi that are appropriate. I have never heard the Baltimore Symphony sound better. The one star fan? from Maryland is very probably one of those people who disagreed with the hiring of Marin Alsop to lead the Baltimore Symphony.

I just bought Alsop's rendering of Dvorak's 9th - and I am so pleased by it! - Yes, this perennial classic piece has been studied and interpreted and judged so many times ... yet Baltimore under Mrs. Alsop was able to make a difference: crisp, dynamic and very warm music, great orchestration altogether.

Simply put: beautiful Bohemian musical gem played beautifully by a first-class orchestra: maybe differently than played by others, but definitely preserving the spirit, longings, emotions, and artistic motifs Dvorak so successfully conveys to us. Listen to his Largo and judge for yourself ... how good is the job done by Marin Alsop and the Baltimore Orchestra.

Admittedly, I don't own other versions of this iconic work, but I thought this one comes across remarkably well. The sound quality is first-rate, as usual for Naxos, and I thought the playing is extremely good. I had no idea, really, that today's Baltimore symphony is this good. I disagree with the extremist reviews here. This is certainly a competitive version that's well worth owning.