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CD Symphony No. 9 ´From the New World´ - Importado- Duplo Cod. do Produto: 277431

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Tamanho da fonte:
  • Em dois CDs, Jeremy Siepmann apresenta uma introdução à obra do tcheco Antonin Leopold Dvorák (1841-1904), com a Sinfonia No 9 Novo Mundo. O trabalho acompanha um booklet explanatório de 136 páginas.
  • Artista: ANTONÍN DVORÁK (1841-1904)
  • Ano: 2002
  • Procedência: Importado
  • Label: Naxos
  • ISSN: 636943806524

  1. Disco

    1. A Quiet Beginning, Sorrow, Syncopation, And Sequen
    2. Instrumental Colour As A Prime Element: Clarinets
    3. The Opening Tune Again, With Different Instrumenta
    4. The First Big Surprise: Strings, Shattering Drumbe
    5. Cellos And Basses Take Us Into A New Key While Flu
    6. Horns, Violas, And Cellos Introduce A New Idea, So
    7. A Tiny Detail From The Opening Culminates In A Wil
    8. Introduction Complete
    9. A Solo Horn Introduces The Main Theme, Perkily Ans
    10. The Theme Moves To G Major; Answering Phrase From
    11. Long Crescendo, Tremolo Strings, Back To Tonic And
    12. Transition To The Secondary Theme Through The Use
    13. Three-Bar Groupings And Again The Use Of Sequence,
    14. The Sequence Continues To Rise, And The Four-Bar P
    15. The First Violins Start Off The Next Phrase, But T
    16. The Violins Fall Silent; The Violas And Cellos Ans
    17. So Now We Have A Two-Bar Group, Made Up Of Stateme
    18. The Same Thing Again (Through Not Quite The Same)
    19. Transition Complete. The Secondary Theme Arrives,
    20. The ´Bagpipe Drone´ Is Taken Over By Cellos With T
    21. The Tune Is Taken Up By Cellos And Double-Basses,
    22. The Violins Continue A Patterns Of Steady Pairs, A
    23. Unexpectedly, We Find Ourselves Back With The Seco
    24. Again We Hear The Shortened Version Of The Seconda
    25. The Suspense Is Heightened As Everything Slows Dow
    26. This Beautiful Flute Tune Is Said To Resemble ´Swi
    27. A Big Crescendo Leads To A Final Statement Of The
    28. The Development Section Begins With A Conversation
    29. The Beginning Of The Closing Theme Is Taken Up In
    30. Sequential Chirping From The Oboes Based On The ´A
    31. Much Of The Development Comes From A Diminution Of
    32. A Tiny Detail Becomes A Major Ingredient, Giving A
    33. Through A Sequence Of Keys So Quickly That It Is H
    34. The Main Theme From Massed Cellos And Double-Basse
    35. After That Major Climax, We Arrive At The Threshol
    36. Dvorák Flouts Tradition By Setting The Secondary T
    37. The Tumultuous Convulsion Of The Coda Brings The F
    38. Humpty Dumpty: Putting The Bits Back Together Agai
    39. Symphony No. 9 In E Minor ("From The New World," F
    40. The Very Opening Chords Unmistakably Herald The Ar
    41. The Role Of Instrumentation In Setting The Scene..
    42. Mvt....And In Enhancing The Quality Of One Of The
    43. The Cor Anglais Is Joined By The Clarinet, Creatin
    44. . For The Closing Part Of The Tune, There Is Anoth
    45. The Closing Bar Is Repeated By Clarinets And Basso
    46. Back To The Start To Hear The Whole Of The Story S
    47. A Change Of Scoring: The Slow Opening Chords Retur
    48. The Changes In Scoring Are Just Beginning
    49. The Flutes And Oboes Introduce A New Tune, Over Hu
    50. A Memorable Combination Of Continuous, Asymmetrica
    51. Back In That Woodland Glade, The Light And Shadows
    52. The Next Section Is New And Forward-Looking, Yet A
    53. An Abrupt Change Of Mood, Much Discussion And Embe
    54. Subjectivity And Expertise; Sourek And Tovey Disag
    55. Cue To Whole Movement
    56. Symphony No. 9 In E Minor ("From The New World," F

  1. Disco

    1. Dvorák, Beethoven And The Scherzo. Dvorák Purposel
    2. Using A Little Fanfare, Dvorák Further Builds Up E
    3. When The Theme Is Revealed, We Find That It Is Not
    4. Two Little Bursts Of Rhythm Povide The Seeds From
    5. It Is The Second Half Of The Theme That Dominates.
    6. Back To The Beginning To Hear The Whole Of This Op
    7. Without Ever Being Remotely ´Academic´ Or ´Intelle
    8. Dvorák´s Very Czech Love Of Combining Conflicting
    9. A Clearly Transitional Passage, Obsessed With The
    10. Sooner Than We May Have Expected, We Seem To Have
    11. A New Kind Of Tone Quality Sheds A Subtly Differen
    12. The Flutes And Oboes Now Chime In With An Answerin
    13. And The Cellos And Bassoons Take Up The Original V
    14. A False Alarm: It Was Not The Traditional Trio Sec
    15. Soon, After A Very Rapid Build, The Scherzo Proper
    16. The Orchestral Texture Thins Dramatically, And We
    17. The Trio Section Is Reminiscent More Of The ´Old W
    18. In The Second Half Of The Trio, A New Tune Emerges
    19. The Main Theme Of The Trio Returns Against A Much
    20. Then It Is All A Matter Of Repeats, Until We Reach
    21. Symphony No. 9 In E Minor ("From The New World," F
    22. Like The First Movement, The Fourth Begins Not Wit
    23. The Main Theme: An Imposing March, Introduced By T
    24. The Main Theme, Part Two. A Codetta-Like Passage C
    25. The ´Transitional´ Theme, While Outwardly Contrast
    26. A Point Of Future Obsession
    27. The Second Half Of This ´Transitional´ Theme Is Gi
    28. The ´Obsession´ Takes Root, With A Ten-Fold Repeti
    29. The Hidden Traps In Sonata-Form Terminology: ´Seco
    30. The Unexpected Entry And Subsequent Ubiquity Of ´T
    31. We Meet The Mice Again, Now In The Cellos And Doub
    32. More ´Three Blind Mice´ Material
    33. The Mice Return To The Basement, Where The Bassoon
    34. Next, They Are Back With The Clarinets, Now Joined
    35. Now They Return To The High Winds, Delicately Tril
    36. Relief, At Last: The Mice Back Off, Making Way For
    37. The Mice Yield To Woodpeckers (Clarinets); The Mai
    38. The Triplets Of The ´Transitional´ Theme Are Now H
    39. Reminders Of Past Movements Begin To Fly By, Thick
    40. In Fact There Are Three Bits Of Quotation Going On
    41. The Violas React Every Time The ´Goin´ Home´ Theme
    42. The Rhythm Of The Opening Of The ´Goin´ Home´ Them
    43. The March Theme Reappears As A Mendelssohnian Fair
    44. We Reach An Interesing Point: Have We Heard The Be
    45. Perhaps This Is It? Back For A Reminder Of The The
    46. Tovey Places The Start Of The Recapitulation Here.
    47. The Main Theme Recast In Pathetic Rather Than Hero
    48. This Unexpected Crisis In Confidence Plays A Major
    49. The Main Theme Returns - Not Complete, But Chopped
    50. A Glorious Thematic Stew; High Drama, A Powerful B
    51. The Dramatic Highpoint Of The Movement, An Astonis
    52. The Same Chords Again, This Time Blasted Out By Th
    53. Now We Are Into The Finishing Stretch, But The Sur
    54. Summary, Context, And Cue Into The Whole Movement
    55. Symphony No. 9 In E Minor ("From The New World," F