Dvořák - Slavonic Dances Op. 72 (reference recording: Karel Šejna / 2024 Remastered)

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Antonin Dvořák (1841-1904) Dvořák: Slavonic Dances Op. 72 / Remastered
Slavonic Dance in B Major, Op. 72
00:00 No. 1: Odzemekb (Molto vivace)
04:06 No. 2: Starodávny (Allegretto grazioso)
10:10 No. 3: Skočná (Allegro)
13:27 No. 4: Dumka (Allegretto grazioso)
18:42 No. 5: Špacírka (Poco adagio)
21:24 No. 6: Starodávný (Moderato, quasi Minuetto)
25:09 No. 7: Kolo (Allegro vivace)
28:55 No. 8: Sousedská (Grazioso e lento, ma non troppo, quasi tempo di Valse)
Czech Philharmonic Orchestra
Conductor: Karel Šejna
Recorded in 1959
New mastering in 2024 by AB for classicalmusicreference.com/
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Antonin Dvořák (1841-1904), a striking representative of Czech national music, had to wait a long time for the recognition of his talent. A large part of his early work came into being without performance and when his music finally became known in Prague concert life - the composer was by then over thirty - the public was amazed to find mature works of real Czech provenance. In the mid-seventies of the 19th century Dvořák also began to become known abroad thanks to his Moravian Duets. The Berlin publisher Dvořák asked for more compositions in the Czech or "Slavonic" style and in 1878 Dvořák composed the first series of Slavonic Dances, originally for piano four hands, shortly after this in the orchestral version.
These are mainly idealizations of Czech folk dances the temperamental furiant with its changing rhythm (l and 8), the then popular polka (3), the calm, three-beat sousedská (4 and 6) and the quick skočná dance (5 and 7); only No. 2 is a stylization of the Ukrainian dumka. The first series was so successful that Simrock asked for a continuation, but this took 8 years to complete (1886). The second series of dances is in a different style the composer's further artistic development is clear. The majority of these dances are from other Slavonic nations: Slovak (9), Polish (14), Serbian (15), Ukrainian (10 and 12), only three numbers are of Czech origin (11, 13, 16). The stirring rhythm, brilliant instrumentation and vital optimism - all this makes the Slavonic Dances a real jewel of Czech music.
That the national, even popular, influence is undeniable does not fully explain this immediate and lasting favor. Dvořák was not an "intellectual." Despite mastering his craft and acquiring extensive knowledge of both ancient and contemporary music history on his own, he was never preoccupied with aesthetic issues, although he was occasionally receptive to the new musical expressions of Liszt and Wagner. While he seems to align himself with his predecessors, notably the classical romanticism of Brahms, who was his guide and friend, Dvořák uniquely characterizes the distinct harmonic color and Czech lyricism, often with pronounced Slavic elements. Although he drew from popular sources, he did not directly replicate folklore but discovered the fundamental traits of an original national art, the music of which has remained one of its best symbols, which he succeeded in elevating to the status of universal heritage.
Other Album available // Dvořák: Serenades Op. 22 & Op. 44 by Hans Schmidt-Isserstedt
🎧 Qobuz bit.ly/3Jwwuzw Tidal bit.ly/3RlyKeC
🎧 Apple Music apple.co/411GkP0 Deezer bit.ly/3x4k0Yt
🎧 Amazon Music amzn.to/3XPHMTA Spotify spoti.fi/3DuPVVx
🎧 CZcams Music bit.ly/3DvtwaA
Antonín Dvořák PLAYLIST (reference recordings): • Antonín Dvořák (1841-1...

[@classicalmusicreference]

Full Album available // Dvořák: Slavonic Dances Op. 46 & 72 by Karel Šejna
🎧 Qobuz (Hi-Res) cutt.ly/PesgZW5Z Tidal (Hi-Res) cutt.ly/iesgXrey
🎧 Apple Music (Lossless) cutt.ly/kesgXmqR Deezer (Hi-Fi) cutt.ly/2esgXLaH
🎧 Amazon Music (Hi-Res) cutt.ly/LesgX8oz Spotify (mp3) cutt.ly/qesgCxI0
🎧 Idagio (Hi-Fi) cutt.ly/7esgVAAu CZcams Music (mp4) cutt.ly/desgVoQr
🔊 Download the album (Hi-Res Master) cutt.ly/Classical-Music-Reference-Recording-Website-Sejna
Antonin Dvořák (1841-1904) Dvořák: Slavonic Dances Op. 72 / Remastered
Slavonic Dance in B Major, Op. 72
00:00 No. 1: Odzemekb (Molto vivace)
04:06 No. 2: Starodávny (Allegretto grazioso)
10:10 No. 3: Skočná (Allegro)
13:27 No. 4: Dumka (Allegretto grazioso)
18:42 No. 5: Špacírka (Poco adagio)
21:24 No. 6: Starodávný (Moderato, quasi Minuetto)
25:09 No. 7: Kolo (Allegro vivace)
28:55 No. 8: Sousedská (Grazioso e lento, ma non troppo, quasi tempo di Valse)
Czech Philharmonic Orchestra
Conductor: Karel Šejna
Recorded in 1959
New mastering in 2024 by AB for classicalmusicreference.com/
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon www.patreon.com/cmrr/about
Antonin Dvořák (1841-1904), a striking representative of Czech national music, had to wait a long time for the recognition of his talent. A large part of his early work came into being without performance and when his music finally became known in Prague concert life - the composer was by then over thirty - the public was amazed to find mature works of real Czech provenance. In the mid-seventies of the 19th century Dvořák also began to become known abroad thanks to his Moravian Duets. The Berlin publisher Dvořák asked for more compositions in the Czech or "Slavonic" style and in 1878 Dvořák composed the first series of Slavonic Dances, originally for piano four hands, shortly after this in the orchestral version.
These are mainly idealizations of Czech folk dances the temperamental furiant with its changing rhythm (l and 8), the then popular polka (3), the calm, three-beat sousedská (4 and 6) and the quick skočná dance (5 and 7); only No. 2 is a stylization of the Ukrainian dumka. The first series was so successful that Simrock asked for a continuation, but this took 8 years to complete (1886). The second series of dances is in a different style the composer's further artistic development is clear. The majority of these dances are from other Slavonic nations: Slovak (9), Polish (14), Serbian (15), Ukrainian (10 and 12), only three numbers are of Czech origin (11, 13, 16). The stirring rhythm, brilliant instrumentation and vital optimism - all this makes the Slavonic Dances a real jewel of Czech music.
That the national, even popular, influence is undeniable does not fully explain this immediate and lasting favor. Dvořák was not an "intellectual." Despite mastering his craft and acquiring extensive knowledge of both ancient and contemporary music history on his own, he was never preoccupied with aesthetic issues, although he was occasionally receptive to the new musical expressions of Liszt and Wagner. While he seems to align himself with his predecessors, notably the classical romanticism of Brahms, who was his guide and friend, Dvořák uniquely characterizes the distinct harmonic color and Czech lyricism, often with pronounced Slavic elements. Although he drew from popular sources, he did not directly replicate folklore but discovered the fundamental traits of an original national art, the music of which has remained one of its best symbols, which he succeeded in elevating to the status of universal heritage.
Other Album available // Dvořák: Serenades Op. 22 & Op. 44 by Hans Schmidt-Isserstedt
🎧 Qobuz bit.ly/3Jwwuzw Tidal bit.ly/3RlyKeC
🎧 Apple Music apple.co/411GkP0 Deezer bit.ly/3x4k0Yt
🎧 Amazon Music amzn.to/3XPHMTA Spotify spoti.fi/3DuPVVx
🎧 CZcams Music bit.ly/3DvtwaA
Antonín Dvořák PLAYLIST (reference recordings): czcams.com/video/XI5Jsheka40/video.html

[@notaire2]

Lebhafte und wunderschöne Interpretation dieser acht spätromantischen und ethnisch komponierten Tänze mit farbenprächtigen doch perfekt entsprechenden Tönen aller Instrumente. Der intelligente und erfahrene Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!

[@classicalmusicreference]

Antonin Dvořák (1841-1904), a striking representative of Czech national music, had to wait a long time for the recognition of his talent. A large part of his early work came into being without performance and when his music finally became known in Prague concert life - the composer was by then over thirty - the public was amazed to find mature works of real Czech provenance. In the mid-seventies of the 19th century Dvořák also began to become known abroad thanks to his Moravian Duets. The Berlin publisher Dvořák asked for more compositions in the Czech or "Slavonic" style and in 1878 Dvořák composed the first series of Slavonic Dances, originally for piano four hands, shortly after this in the orchestral version.
These are mainly idealizations of Czech folk dances the temperamental furiant with its changing rhythm (l and 8), the then popular polka (3), the calm, three-beat sousedská (4 and 6) and the quick skočná dance (5 and 7); only No. 2 is a stylization of the Ukrainian dumka. The first series was so successful that Simrock asked for a continuation, but this took 8 years to complete (1886). The second series of dances is in a different style the composer's further artistic development is clear. The majority of these dances are from other Slavonic nations: Slovak (9), Polish (14), Serbian (15), Ukrainian (10 and 12), only three numbers are of Czech origin (11, 13, 16). The stirring rhythm, brilliant instrumentation and vital optimism - all this makes the Slavonic Dances a real jewel of Czech music.
That the national, even popular, influence is undeniable does not fully explain this immediate and lasting favor. Dvořák was not an "intellectual." Despite mastering his craft and acquiring extensive knowledge of both ancient and contemporary music history on his own, he was never preoccupied with aesthetic issues, although he was occasionally receptive to the new musical expressions of Liszt and Wagner. While he seems to align himself with his predecessors, notably the classical romanticism of Brahms, who was his guide and friend, Dvořák uniquely characterizes the distinct harmonic color and Czech lyricism, often with pronounced Slavic elements. Although he drew from popular sources, he did not directly replicate folklore but discovered the fundamental traits of an original national art, the music of which has remained one of its best symbols, which he succeeded in elevating to the status of universal heritage.
Other Album available // Dvořák: Serenades Op. 22 & Op. 44 by Hans Schmidt-Isserstedt
🎧 Qobuz bit.ly/3Jwwuzw Tidal bit.ly/3RlyKeC
🎧 Apple Music apple.co/411GkP0 Deezer bit.ly/3x4k0Yt
🎧 Amazon Music amzn.to/3XPHMTA Spotify spoti.fi/3DuPVVx
🎧 CZcams Music bit.ly/3DvtwaA

[@W.ClassicMusic]

I love the wonderful music

[@lionelthiebaud7081]

Enregistrement de référence absolue

[@davemiller7633]

A true reference recording

[@merlin671]

Beautiful music.

[@janaromer9208]

Srdečné díky 👌👏

[@giovannijaimes333]

Thanks only enjoy

[@O-8-15]

genius