Dvořák: Symphony No. 9 in E minor "From the New World", Op. 95, B 178 (with Score)
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- čas přidán 19. 06. 2024
- Antonín Dvořák:
Symphony No. 9 in E minor "From the New World", Op. 95, B 178 (with Score)
Composed: 10 January - 24 May 1893
Conductor: Václav Neumann
Orchestra: Czech Philharmonic
00:00 1. Adagio - Allegro molto (E minor)
09:43 2. Largo (D-flat major)
21:21 3. Molto vivace (E minor)
29:36 4. Allegro con fuoco (E minor)
The Symphony No. 9 in E minor "From the New World (Z nového světa)", Op. 95, B 178, popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered in New York City on 16 December 1893. It has been described as one of the most popular of all symphonies. In older literature and recordings, this symphony was - as for its first publication - numbered as Symphony No. 5. The symphony was completed in the building that now houses the Bily Clocks Museum.
This symphony, Dvořák’s most popular in an international context, was written during the first year of the composer’s tenure in the United States. An ideal set of circumstances had presented themselves by this stage in his career: strong impressions of his new environment, financial independence, a sense of his role as an “ambassador” of Czech music, and his ambitions to ensure that he would not fall short of expectations. All this found Dvořák at the height of his creative energy and contributed to the genesis of a work of exceptional quality. The New World Symphony is the composer’s ninth, and also his last (nine is something of a magical number in the history of music: various world composers completed the same number of symphonies, such as Beethoven, Schubert, Bruckner and Mahler). The symphony was to prove the composer’s theory of the possibility of using characteristic elements of African American and Native American music as the foundation for an American national school of composition which, in fact, did not exist during Dvořák’s time in the United States. - Hudba
One of the greatest pieces ever written for the full orchestra.
Indeed.
I just recently played the timpani part in the 1st Movement with our school orchestra and it’s probably one of my favorite Timpani parts ever and is just super fun to play.
왜 재밌는데 ?...
Wait until you play pieces like the rite of spring or Martin's concerto for 7 winds ;)
Actually there are so many fun things to play. Recently for me it was Liszt's Hungarian Rhapsody no 2 and Navarro's Libertadores which was pretty cool.
Now try playing both parts of Jupiter by holst. That’s also really fun. I’m doing with 5 timp instead of 6 though and it’s a lot of work but still fun 😂
@@user-jl2bh1lw6rit’s a musician thing. Musicians listen to music differently. And a lot of times timpani music is VERY boring but still an important part. Timpani is usually strictly 1 5 1 or 1 4 1 on a roll or basic leading to the key change to the forth or fifth or back to the tonic (the 1) but Dvorak decided to actually give the timpani something to do. And understands how the timpani works. If you look closely at the notation he used he made LOTS of use in muting the head and understood how the timpano projects and resonates as well as all the other instruments
The fourth movement is rightfully celebrated, but the other movements are equally stunning. That second theme in G# minor during the recapitulation at 7:07 is magical. I can picture in my head the vast american meadows while listening to that beautiful flute solo.
The last movement has a brilliant exposition, but the first movement has a better development.
@@ClassicalMusicAndSoundtracks I agree. I feel like that the first movement is overall a more satisfying sonata form.
What a disgusting theme that is. Straight out of a tavern.
@@arnekorpen3143 Why so? What is your prototype of a beautiful theme?
@@dragondaemonis3801 Where do these humiliating prejudices come from? On what grounds do you prescribe such narrowness of melodic horizon to me, suggesting that it can be contained within the limits of a single theme? A vast number of good themes have been written, and listing here dozens of them would hardly be appropriate. And your framing of the question is incorrect. So I'll approach it from another angle: I know a person who can't stand the first movement of Beethoven's 32nd Sonata because of its stylistic similarities with the music of a marginalized segment of a misguided state. I find myself in roughly similar relations with the melodicism of late Dvorak. Why so? Honestly, I'm not a biographer or a researcher of Dvorak's work. Surface-level, I know that this wasn't present in his early days, and in his later period, half-drunk rural tunes were placed at the center of the melodicism. Essentially, I don't really care what reasons prompted him to make such changes. At the same time, there are plenty of examples where folk themes are used by other composers much more effectively.
I'm relieved to finally see a good recording used for this video
Vaclav Neumann is an absolutely underrated conductor compared to many of his contemporaries and his Dvorak symphony cycles (regardless of which ones) are absolutely masterful
@@franzliszt9799 agreed
Maybe in the world, but in Czech republic He is very well known.
@@hudebnilidlprodukce5137 yes i see from your name that you are Czech im also we can thank that we are carrying the good feeling that He was Born in our country
19:08 Best 4-8 measures of the entire piece...
I ч.
0:04 - вступ Adagio (e moll - es moll)
1:59 - гп I Allegro molto
2:05 - гп II
2:41 - сп
3:10 - пп (g moll - G dur)
4:18 - зп Allegro molto
5:02 - розробка
6:27 - реприза гп
7:07 - пп (gis moll)
7:50 - зп (As dur)
8:47 - кода
II ч.
9:43 - вступ Largo (Des dur)
10:10 - осн.т. (спірічуелс)
14:12 - сер. ч I (cis moll)
14:42 - хода II
17:21 - "гімн природі" III
18:21 - реприза осн. т.
III ч.
21:20 - вступ Molto vivace (фуріант)
21:24 - осн.т. I (e moll)
22:54 - II Poco sostenuto (E dur)
25:11 - III Molto vivace Trio
26:48 - реприза
28:53 - кода
IV ч.
29:37 - вступ (e moll)
29:53 - гп
30:53 - сп
31:33 - пп
32:45 - зп
33:25 - розробка
35:15 - кульмінація розробки (діалог лейтмотиву симфонії з темою 4 ч.)
36:35 - реприза (відсутня сп)
38:21 - кода (зявляється сп)
The key change at 36:25 always gets me
I discovered you tonight and immediately subscribed! GREAT!! AWESOME!!! THOUROGHLY NEEDED!!!! KEEP IT UP!!!!! 👍👍👍
*Patrick voice:* Yeah, E minor! All right!!!
This is absolutely my favorite song of all time. Great job Dvořák!
Symphony, not song. There are no singers here.
@@ClassicalMusicAndSoundtracksshut up no one cares, if people like the music then that’s a step in the right direction for making classical music more widespread, no need to gatekeep it
@@ClassicalMusicAndSoundtracksit’s the same way people say “me and my friend” and not “my friend and I” yes grammarally wrong but we still say it wrong.
Yes this technically isn’t a song but most people will say it is but yeah I do agree.
I 'm listening this beutiful masterpiece here un Colombia un south América !!! Writen in 1893 , its ALIVE !!! Carlos good luck directing and ejoying good australians playing it !!!
What a genius masterpiece, it's astounding!
So many thanks for making this!
Each movement of this masterpiece moves me supremely every time I hear it, whether it be the chills and racing heart the first, third and fourth give me or the tears the second makes me shed. And on top of that, the recurring themes add the minute touch of genius this symphony needed to reach Perfection. Dvořák, along with Tchaikovsky, are truly the greatest composers of all time (in my humble opinion pls dont attack me).
Woooowwww!!!!This is SO AMAZING!!!!!!
One of the best symphonies in my opinion.
What do you mean with "the most romantic"?
@@ClassicalMusicAndSoundtracks Sorry, it wasn’t very clear 😅
excelent !!
this recording is definitely my favorite one.
11:25 this is the moment that always makes me cry. So beautiful…
What is the recording date? I think Neumann recorded this symphony with Czech philharmonic more than once.
WOOOOOO
2:00 - 2:20
3:09 - 3:29
4:17 - 4:39
Парадоксальное чувство ритма у дирижера и оркестрантов. Брависсимо!!!
The tempo is dragging a little bit in the first movement, wont you agree?
4:27 👌
19:18 Heartbreaking
2:02
2:37
3:10
4:18
4:50 - development
5:20
7:06 - STG back
7:46
8:14 STG 1 back
8:50 Key change
I feel like in the first movement, that the repeat isn’t played
A lot of it isn’t because with all four movements it’s already a lot of music. Especially when all 4 movements are played. Or even just 3. I learned this by listening to a lot of recordings of this
2:00
3:09
4:17
07:05
7:05
31:28 piatti
29:53 is it just me or
_Is that your final answer?_
10:04
38:01
39:02
40:35
24:34
39:53
listen to movement 3 at 1.25 speed. It's way better like that. The original tempo is way too slow
18:22
Touch your heart
6:27
2:03
Remove the ads
Bruh
Or at least put them between movements
He unfortunately can’t.
What does it mean "with score"? What score is added?
Um... the whole score that's on the screen the entire 40 min?
10:04
38:01
39:02
40:35
17:52
35:22
30:35
7:06
38:28