Dvorak

[Beef Oven!]

A few things I like:
I enjoyed the Violin Concerto on headphones in the garden this afternoon, Oistrakh/Kondrashin.
I have a soft spot for the Sixth with Pesek and the Czech Phil + a bracing In Nature's Realm.
Love songs with Mrs Rattle.
The Dumky Trio has always appealed to me.

Ah yes, forgot the Dumky Trio.

[Tony Halstead]

The Serenade Op. 44 for 9 winds ( who include 3 horns ) cello & double bass, is a 'minor masterpiece' ( but then I would say that wouldn't I?).
I do agree with pastoralguy about the wonderfully poignant last movement of the Cello concerto with its sudden emergence of the solo violin that never fails to generate goosebumps.
And then, finally, after the almost unbearably wistful musings of the cello in the 'long-a-dying' coda, culminating in that long-held cello high F# climbing to the high B, just as one is managing to wipe away the tears, Dvorak gives us his last master-stroke, in the orchestral 'tutti' - a glorious 'flattened seventh' chord ( ' A major' superimposed on the 'home key' of B major) before the animated 'play out' of the last six bars.

[Pabmusic]

I love much Dvorak, though he can get rather bogged-down (well, boring) quite often. Of the symphonies, the New World will always be tops (yes, I can list its deficiencies too) though all from 5 onward are fine. I'm very fond of 4 apart from the finale, which demands too much of any conductor to soften the 'rum-pum rum-ti-tum' repetitions (note the anticipation of Elgar's The Kingdom in the slow movement). I love the opening of 3, though it rather peters out.

I love every note of the cello concerto (a work I've conducted, so I've got to know it intimately anyway) and the violin concerto is fun if I'm in the right mood.

I've never quite taken to the late tone poems, though, but I enjoy both Serenades, the Czech Suite, the Slavonic Dances, My Home, In Nature's Realm, Carnival and the Scherzo Capriccioso.

Of the chamber works, I love the A major piano quintet, the E-flat string quintet, the 'American' quartet, the Bagatelles, and the violin Sonatina.

I can sit through the Stabat Mater, and the Te Deum is fun.

I'd never want to be without Dvorak.

[gurnemanz]

I went to see Rusalka in German about 40 years ago and remember not being hugely riveted by the experience.

[Pabmusic]

The Serenade Op. 44 for 9 winds ( who include 3 horns )...

I'd forgotten that. The cello concerto has only three horns (though everyone uses a bumper, I suppose).

[Tony Halstead]

I agree with pretty well everything you say, Pabs.
But, do have another think ( or listen to, if you have a recording) about Symphony #2 in Bb. I will never forget recording that work with the LSO and the woefully undervalued Witold Rowicki over 40 years ago, in the lovely wood-panelled acoustic of Wembley Town Hall.
Ok, it's a bit 'sprawly' and repetitious but the TUNES and the orchestration are magnificent. I think it holds together in its totality much better than #3 and #4 which both start out wonderfully and then sort-of peter out in their inspiration.

[Pabmusic]

I agree with pretty well everything you say, Pabs.
But, do have another think ( or listen to, if you have a recording) about Symphony #2 in Bb. I will never forget recording that work with the LSO and the woefully undervalued Witold Rowicki over 40 years ago, in the lovely wood-panelled acoustic of Wembley Town Hall.
Ok, it's a bit 'sprawly' and repetitious but the TUNES and the orchestration are magnificent. I think it holds together in its totality much better than #3 and #4 which both start out wonderfully and then sort-of peter out in their inspiration.

I haven't listened to it for (?) years, so this is inspiration to change that!

[David-G]

I went to see Rusalka in German about 40 years ago and remember not being hugely riveted by the experience.

Perhaps you should try again! I find Rusalka one of the most moving of all operas, from start to finish. Of course, one has to see it in a good production. I have been lucky enough to see two superb ones - Glyndebourne and the Pountney production at the ENO. Whatever you do, don't go to the ghastly ROH production if they revive it.

[gurnemanz]

Perhaps you should try again! I find Rusalka one of the most moving of all operas, from start to finish. Of course, one has to see it in a good production. I have been lucky enough to see two superb ones - Glyndebourne and the Pountney production at the ENO. Whatever you do, don't go to the ghastly ROH production if they revive it.

I'm sure it was my fault and if I get a chance I will try again.

[edashtav]

A few things I like:

I have a soft spot for the Sixth with Pesek and the Czech Phil + a bracing In Nature's Realm.

The Dumky Trio has always appealed to me.

I'm 100% with you over those two pieces.

Let me add two:
Serenade for Strings
Overture :"Carnival"

[David-G]

Originally Posted by David-G
Perhaps you should try again! I find Rusalka one of the most moving of all operas, from start to finish. Of course, one has to see it in a good production. I have been lucky enough to see two superb ones - Glyndebourne and the Pountney production at the ENO. Whatever you do, don't go to the ghastly ROH production if they revive it.

I'm sure it was my fault and if I get a chance I will try again.

Maybe being in German didn't suit it.

I find the ending of Rusalka remarkable. She is condemned to a watery limbo, neither human nor water nymph, shunned by all her sisters... And yet in a curious way she is redeemed by her love of the Prince and his for her; the closing music glows with optimism, and one leaves the theatre with a "feel-good factor".

[jayne lee wilson]

I agree with pretty well everything you say, Pabs.
But, do have another think ( or listen to, if you have a recording) about Symphony #2 in Bb. I will never forget recording that work with the LSO and the woefully undervalued Witold Rowicki over 40 years ago, in the lovely wood-panelled acoustic of Wembley Town Hall.
Ok, it's a bit 'sprawly' and repetitious but the TUNES and the orchestration are magnificent. I think it holds together in its totality much better than #3 and #4 which both start out wonderfully and then sort-of peter out in their inspiration.

Yes - I was thrilled to get the original Philips CD issue of the Rowicki cycle, in that lovely claret-and-blue box, costly 2ndhand but perfectly kept... (sounds better than the Duos).

But, at 51'50, there are still cuts in Rowicki's No.2 aren't there? Seek out Rozhdestvensky/USSR TV&RLSO (!), on the Audiophile Classics Gold CD. At 62'37, it must be the closest we'll get to a complete version and just happens to be stunningly well-played, recorded and remastered. (And appears to be a terrific bargain on Amazon now - ready, steady...).

I do find the early symphonies (1-4) really open up as you get to know them, and the Wagnerian influence is fascinating (Dvorak loves forest murmurs...). Suitner's Berlin Staatskapelle set is evocative here (though heavily cut in 1 & 2). Smetacek's Prague SO reading of No.3 is VERY special, marvellously sung and rhythmically sprung! THAT's what we mean by idiomatic...
(... but the Supraphon Archiv SQ occasionally inclined to harshness on some systems...)

[Pabmusic]

Lately I've decided that his seventh symphony is my favourite.

Also like his Stabat Mater very much.

Never really took to his cello concerto

I see you're no longer Kidding, Beefy (or Kippering come to that) but you have acquired punctuation.

[Beef Oven!]

I see you're no longer Kidding, Beefy (or Kippering come to that) but you have acquired punctuation.

And the right sort of punctuation!

On Dvorak, you remind me of two further wonderful pieces that I'd overlooked, the American Quartet and the Te Deum

[Richard Tarleton]

I don't think anyone has mentioned Silent Woods Op 68 and the Rondo for cello Op 94, both discovered via a Naxos CD of "Virtuoso cello showpieces" by Maria Kliegel (a pupil of Janos Starker acc. to the sleeve notes). Both gorgeous works.

Heard Isserlis give a fine perf. of the cello concerto in Cardiff a couple of years ago, with Andras Schiff conducting.

Dvorak's gift for melody (among much else) never ceases to amaze me.