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Symphony 1 in D Minor Op 9


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Audio CD, July 28, 1998
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Frequently Bought Together

Symphony 1 in D Minor Op 9 + Dohnányi: Veil of Pierrette/Suite/Variations on a Nursery Theme + Violin Concertos Nos. 1 & 2
Price for all three: $44.02

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Product Details

  • Audio CD (July 28, 1998)
  • Number of Discs: 1
  • Label: Telarc
  • ASIN: B000009D6I
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #73,276 in Music (See Top 100 in Music)

1. I. Allegro Ma Non Troppo
2. II. Molto Adagio
3. III. Scherzo (Presto)
4. IV. Intermezzo (Andante Con Moto)
5. V. Finale (Introduzione, Tema Con Variazione E Fuga)

Editorial Reviews

Product Description

Amazon.com

Was it really necessary to dredge up this dreary specimen of pseudo- Brahmsian late Romanticism? Dohnányi had already written more worthwhile (if equally Brahmsian) music than this--like his Piano Quintet No. 1, op. 1--by the time he composed this symphony at age 23. Perhaps he was intimidated by the task of taking on an orchestra for the first time. At any rate, his themes are so unmemorable here that we wonder why the orchestra is going on about them so in the developments. It's like having a vigorous conversation about the weather. The performance sounds decent enough, if it matters. --Leslie Gerber

Customer Reviews

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Most Helpful Customer Reviews

22 of 22 people found the following review helpful By Jeffery A. Triggs on June 28, 2008
Format: Audio CD
It's a pity that users encountering this excellent CD of Dohnanyi's remarkable 1st Symphony should be met first by the snide and unhelpful "Amazon editorial review" apparently written by an unreconstructed atonalist. Alas, there seems to be no way to vote against such reviews other than to write one's own. I'm afraid I cannot understand the writer's glib use of "Brahmsian" as a negative adjective. It's time we started listening to more "Brahmsian" composers like Dohnanyi and started constructing a new history of 20th century music, unskewed by modernist prejudices. No more from me in this context, though I'd like to second Scott Morrison's thoughtful review concerning the qualities and the merits of Dohnanyi's 1st symphony and his work in general.
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23 of 24 people found the following review helpful By David Anthony Hollingsworth on April 24, 1999
Format: Audio CD
In terms of a First symphony being the establishment of a recognizable voice of a respective country, Ernst Von Dohnanyi (1877-1960) was an Hungarian equivalent to England's Sir Edward Elgar. Dohnanyi, however, was a little-known, overshadowed force of 20th Century Hungarian music, largely due to the popularities of both Bela Bartok & Zoltan Kodaly. His works, especially his two symphonies, therefore continue to suffer from obscurity. But, here comes the rescue, at least in part. Leon Botstein & the London Philharmonic brings the First symphony from the coldness of obscurity with this excellent, probing Telarc recording. It's rival Chandos recording, released in March of 1999, features Mathias Bamert & the BBC Philharmonic. Bamert's view of this highly convincing score brings its own rewarding virtues (the coda of the finale is hair-raising). But, Botstein packs a more powerful punch and his overall approach is splendid. I hope to see more recordings of this work, though the aforementioned albums will do just fine.

I am tempting to call this symphony a masterpiece, however flawed it may be. It is essentially the first Hungarian symphony in the matter of importance in Hungarian music, very much like the first symphonies of Elgar or Charles Ives (of Great Britain and the United States respectively). The work, with its Brucknerian beginning, has traceable influences of Brahms and Dvorak in expression while the orchestration is rather Wagnerian in sonority. Hungarian/Gypsy folk-tunes are of prevalence throughout the work, however, and this is highly an assured, communicative work. The first movement is heroic, powerful, and noble.
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8 of 9 people found the following review helpful By J Scott Morrison HALL OF FAMETOP 500 REVIEWERVINE VOICE on January 4, 2005
Format: Audio CD
Ernst von Dohnányi (1877-1960, originally called Dohnányi Ernö in his native Hungary) wrote only two symphonies and they were separated by more than fifty years in a long and extraordinarily busy and peripatetic life. This first symphony, his Opus 9 written in 1900 when he was only 23, shows mature mastery of compositional skills. Indeed, his Op. 1 Piano Quintet, written five years earlier at eighteen, caught the attention of Brahms who arranged for its première in Vienna. Even though called Opus 1, the Piano Quintet was actually the sixty-eighth completed composition by the young composer, who had shown promise at a very early age. Added to that were his virtuosic abilities as a pianist; in his early years it was his piano playing that brought him the most attention. In the Symphony one hears traces of Strauss, Bruckner, Brahms, Mahler, even Tchaikovsky who were, after all, near-contemporaries and certainly their music was the new music of the era. The opening horn call in movement I could have come from a Bruckner symphony. Still, Dohnányi had developed what was to be his own style by this early age and once one is exposed to very much of it one comes to recognize his musical fingerprints. A mastery of late Romantic counterpoint, incorporation of Hungarian Gypsy rhythms and harmonies, a tendency to write improvisatory-sounding passages that turn out eventually to be used classically, a fondness for pedal points, a penchant for middle-register melodies on the viola, cello, or English horn, and an idiosyncratic formal sense are all features of his style. Yet this cursory description does not really encompass all there is in his style.Read more ›
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1 of 1 people found the following review helpful By Colloredo von Salzburg on August 17, 2012
Format: Audio CD
My first recommendation is to ignore the poor "review" by Mr(s?) Gerber. Dohnanyi's 1st is a great romantic
symphony that deserves to be listened and known.

Maestro Botstein has been always a great interpreter and rescuer in those big but neglected post-romantic works,
so there's no place for some silly reviews which consider there's no more music beyond Beethoven or Brahms.

Botstein places his cards squarely on the table in this rendition. He insists that 'this fantastic and compelling piece
of music has been unfairly neglected.' He supports his claim with a thrilling performance, magnificently recorded. The symphony
was composed in 1900, a time -- as now -- when the challenge of balancing the old with the new asked for new levels of artistic responsibility. Dohnanyi tended to side with tradition, though his harmonic style is fairly pan-European. The opening horn theme conjures the Bruckner's symphonic world, and the music soon flares to a heady climax before raindrop pizzicatos lower us to a
lyrical second set. The slow movement occasionally hints at hungarian music and the Scherzo seems vaguely reminiscent to
Dvorak. Then we have a very attractive 'Intermezzo' that calls on themes from previous movements and finally, a powerful Tema
e variazioni concludes the work "in modo maestoso".

Dohnanyi's penchant for rich colours and unexpected key relations invariably holds one's interest, though this is not a
Masterpiece, it's a very compelling work and this thrilling performance makes it as a high recommendation.
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