@@MultiRedskins12 There's a bunch of timpani concerti, so why not? You don't need the solo instrument to be a melodic one (although in reality it probably helps), so long as you adapt the interplay ("concertare") of the orchestra to that instrument.
I dont know how many times this makes that I've heard this rousing piece...and I NEVER get tired of it!! That would be like getting tired of the bold, exhilerating love of life itself!! Tremendous life affirming piece!! Bravo!!
Belohloavek, RIP, was great at having orchestras perform Czech music from a chamber viewpoint.....less bombast, pathos.....more intrinsic and intimate.....even in the loudest parts, the music is still vivacious without being heavy-handed or overloaded.
Simply SPECTACULAR!!Absolutely riveting from beginning to ending...and WHAT an ending !!! As another reviewer put it so aptly "takes off like a rocket" and it certainly does!! And we have the pleasure of riding the rockets tail to the superb ending!! My GOD one of my ALL TIME favorite invigorating pieces since I was a kid..54 now!!
My opinion, for what that's worth, perhaps one of the greatest and most energetic pieces ever written and played to perfection. It should be watched first for its scope and grandeur and then replayed with the eyes closed so that the visual doesn't distract from the auditory. Magnificent.
This is a brilliant performance. It's actually the first time I hear this piece with a symphony orchestra. I was in the Royal Albert Hall in october 1980 and listen to the national championship for brass band, and also hear the winning performance by Brighouse and Rastrick band. I still think that it's the most spectacular performance I have witness in any concert hall until today. It was electric! Now when I have heard this live recording, I think that Geoffrey Brand who arranged (or transcribed) the piece for brass band , did a very good job! All the little details, I could recognize every little bit of the piece in those two performances.
This piece is so lively, dynamic and pregnant, there musical ideas for several symphonies, but Dvořák had condensed them into one single piece of art. So typical for him. And his compatriot Bělohlávek's conducting is simply congenial. Part which personally gives me shivers: from 3:50 on, especially when the contrabasses take over at 5:21, it's so deep and dense! Love it! ❤
Love how the orchestra is dressed for the occasion. All the men in formal white tie & tails, and the women in bright colors following the Proms flower theme.
3:50 - 5:52 is such a beautiful nocturne, I wish it would never end. Dreamy, at first like a lullaby, but at 5:20 becoming deep and mysterious. A man and a woman, their bodies pressed tight, their hearts pounding, in the darkening night.
Listen for the starting of the second movement of Dvorak piano quintet op81 Dumka! Of course the whole piece is majestic! But the second mov... is so fabulous!
My little community/college orchestra is playing this in March. I always like finding good examples to listen to as I prepare. Thanks for this, it's perfect!
Discovered this piece a few months ago when I played it in the Symphony Orchestra for the Junior Conservatoire that I attend. Cracking piece!! Loved playing it and love the piece!
You can see the maestro lose his boutonniere on the TV screens behind the orchestra right at 8:47 Poor thing was hanging on for dear life the whole time.
Wow that's quite a fast tempo xD I agree the violinist must really hate Dvorak in this piece haha, bust still fun music. I always come back to listen to it when I feel down and need some cheering up ^^ Thanks for the upload!
Vzpomínám na p.Bělohlávka pokaždé když poslouchám Dvořákovu hudbu, zvláště nahrávky orchestruFOK, SOČR nebo BBC SO London které nastudoval a vedl. Pro českou hudbu udělal mnoho, protože současná IT umožňuje přístup k hudbě na celém světě v plné kvalitě.
Im pretty sure when dvorack wrote this, he asked himself "how much can I make the Violins hate me?" cause this gets pretty ridiculous in the violin section. Although that doesn't change the fact that this piece is amazing in every way, If anyone here has played this piece before, then you probably suffered the same migraine as me when you realized this piece goes up to FREAKIN 350 BPM AT THE END SECTION
Antonín Dvořák Antonín Leopold Dvořák was a Czech composer. Following the nationalist example of Bedřich Smetana, Dvořák frequently employed features of the folk music of Moravia and his native Bohemia. Dvořák's own style has been described as 'the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them'. Born in Nelahozeves, Dvořák displayed his musical gifts at an early age. His first surviving work, Forget-Me-Not Polka in C was written possibly as early as 1855. He graduated from the organ school in Prague in 1859. In the 1860s, he played as a violist in the Bohemian Provisional Theater Orchestra and taught piano lessons. In 1873, he married Anna Čermáková, and left the orchestra to pursue another career as a church organist. He wrote several compositions during this period. Dvořák's music attracted the interest of Johannes Brahms, who assisted his career; he was also supported by the critics Eduard Hanslick and Louis Ehlert. After the premiere of his cantata Stabat Mater, Dvořák visited the United Kingdom and became popular there; his Seventh Symphony was written for London. After a brief conducting stint in Russia in 1890, Dvořák was appointed as a professor at the Prague Conservatory in 1891. In 1892, Dvořák moved to the United States and became the director of the National Conservatory of Music of America in New York City, where he also composed. However, shortfalls in payment of his salary, along with increasing recognition in Europe and an onset of homesickness made him decide to return to Bohemia. From 1895 until his death, he composed mainly operatic and chamber music. At his death, he left several unfinished works. Read MorePlace of birth: NelahozevesNationality: Czech RepublicGenre: Art song, Chamber musicSongs by Antonín Dvořák Slavonic Dances Op. 72 No. 4 in D-flat major: Dumka: Allegretto graziosoSerenade for Strings in E major, Op. 22: I. ModeratoLegends, Op. 59 No. 8 in F major: Un poco allegretto e grazioso, quasi andantinoModerato in A major, B. 116Symphonic Poem, B. 199, Op. 111 "A Hero's Song"String Quartet No. 12 in F major, Op. 96 "American": II. LentoRusalka: Act II. "Oh, it's all in vain!" (Rusalka)Symphony no. 5 in F major, op. 76: IV. Finale: Allegro moltoEight Waltzes op. 54 no. 1 in A majorBiblical Songs, Op 99 No. 7: An den Wassern zu Babylon sassen wirLegends, Op. 59 No. 5 in A flat major: Allegro giustoSymphony No. 9 in E minor, Op. 95 "From the New World": IV. Allegro confuoco Carnival Overture The concert overture Carnival, Op. 92, B. 169, was written by Antonín Dvořák in 1891. It is part of a "Nature, Life and Love" trilogy of overtures written by Dvořák, forming the second "Life" part. The other two parts of the trilogy are In Nature's Realm, Op. 91 and Othello, Op. 93. The overture is scored for two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, tambourine, harp and strings. Its duration is approximately nine and a half minutes. Αντονίν Ντβόρζακ Leopold ήταν ένας Τσέχος συνθέτης. Μετά την εθνικιστική παράδειγμα του Bedřich Σμέτανα, Ντβόρζακ συχνά χρησιμοποιούνται τα χαρακτηριστικά της λαϊκής μουσικής της Μοραβία και τη Βοημία μητρική του. Το δικό του στυλ Ντβόρζακ έχει περιγραφεί ως «η πληρέστερη αναψυχή ενός εθνικού ιδίωμα με αυτό της συμφωνικής παράδοσης, απορροφώντας folk επιρροές και εξεύρεση αποτελεσματικών τρόπων για τη χρήση τους». Γεννήθηκε στην Nelahozeves, Ντβόρζακ εμφανίζονται μουσικά δώρα του σε νεαρή ηλικία. Το πρώτο έργο του που έχουν διασωθεί, Forget-me-not Πόλκα σε C γράφτηκε πιθανώς ήδη από το 1855. Αποφοίτησε από το σχολείο όργανο στην Πράγα το 1859. Στη δεκαετία του 1860, έπαιξε ως βιολιστή στο Θέατρο Ορχήστρα Βοημίας Προσωρινή και δίδαξε πιάνο μαθήματα. Το 1873, παντρεύτηκε την Άννα Čermáková, και άφησε την ορχήστρα να ακολουθήσει μια άλλη καριέρα ως οργανίστας της εκκλησίας. Έγραψε αρκετές συνθέσεις κατά τη διάρκεια αυτής της περιόδου. Μουσική Ντβόρζακ προσέλκυσε το ενδιαφέρον του Γιοχάνες Μπραμς, ο οποίος βοήθησε την καριέρα του? που υποστηρίχθηκε επίσης από τους κριτικούς Eduard Hanslick και Louis Ehlert. Μετά την πρεμιέρα της καντάτα του Stabat Mater, Ντβόρζακ επισκέφθηκε το Ηνωμένο Βασίλειο και έγινε δημοφιλής εκεί? Έβδομη Συμφωνία του γράφτηκε για το Λονδίνο. Μετά από ένα σύντομο πέρασμα από αγώγιμο στη Ρωσία το 1890, Ντβόρζακ διορίστηκε ως καθηγητής στο Ωδείο της Πράγας το 1891. Το 1892, Ντβόρζακ κινήθηκε προς τις Ηνωμένες Πολιτείες και έγινε ο διευθυντής του Εθνικού Ωδείου της Μουσικής της Αμερικής στη Νέα Υόρκη, όπου συνέθεσε επίσης. Ωστόσο, τα ελλείποντα καταβολής των αποδοχών του, μαζί με την αύξηση της αναγνώρισης στην Ευρώπη και μια εμφάνιση της νοσταλγίας για την πατρίδα τον έκανε να αποφασίσει να επιστρέψει στην Βοημία. Από το 1895 μέχρι το θάνατό του, συνέθεσε κυρίως οπερατικά και μουσική δωματίου. Στο θάνατό του, άφησε πολλά ημιτελή έργα. Διαβάστε περισσότεραΤόπος γέννησης: NelahozevesΕθνικότητα: Τσεχική ΔημοκρατίαΕίδος: τραγούδι Τέχνη , Μουσική ΔωματίουΤραγούδια από Αντονίν Ντβόρζακ Σλαβικών Χοροί Op. 72 Νο 4 στο D-ύφεση μείζονα: Dumka: Allegretto GraziosoΣερενάτα για έγχορδα σε μι μείζονα, Έργ. 22: Ι ModeratoΘρύλοι, Op. 59 Νο 8 σε φα μείζονα: Un poco Allegretto e Grazioso, οιονεί andantinoModerato σε λα μείζονα, Β 116Συμφωνικό ποίημα, Β 199, Op. 111 «Ένα τραγούδι ήρωα"Κουαρτέτο Εγχόρδων αρ 12 σε φα μείζονα, Op. 96 "Αμερικανός": ΙΙ. ΒραδύςRusalka: Πράξη ΙΙ. "Ω, είναι όλα μάταια!" (Rusalka)Συμφωνία αρ. 5 σε φα μείζονα, op. 76: IV. Finale: Allegro moltoΟκτώ Βαλς op. 54 όχι. 1 σε Λα μείζοναΒιβλική Τραγούδια, Op 99 Νο 7: An den Wassern zu Βαβυλώνα Sassen wirΘρύλοι, Op. 59 Νο 5 σε λα ύφεση μείζονα: Allegro GiustoΣυμφωνία Αρ 9 σε μι ελάσσονα, Op. 95 «Από τον Νέο Κόσμο": IV. Allegro confuoco Καρναβάλι Overture Η εισαγωγή συναυλία Καρναβάλι, Op. 92, Β 169, γράφτηκε από τον Αντονίν Ντβόρζακ το 1891. Είναι μέρος ενός ", Life-Φύση και την Αγάπη" τριλογίας ανοίγματα που γράφτηκε από Ντβόρζακ, που αποτελούν το δεύτερο μέρος "Life". Τα άλλα δύο μέρη της τριλογίας είναι στη σφαίρα της φύσης, Op. 91 και Οθέλλος, Op. 93. Η εισαγωγή είναι σκόραρε για δύο φλάουτα, πίκολο, δύο όμποε, αγγλικό κόρνο, δύο κλαρινέτα, δύο bassoons, τέσσερα κέρατα, δύο τρομπέτες, τρομπόνια τρία, τούμπα, τύμπανα, τρίγωνο, κύμβαλα, ντέφι, άρπα και έγχορδα. Η διάρκειά της είναι περίπου εννέα και μισό λεπτά.
Musicians: Ugh, why does the percussionist get paid as much as we do?! He only plays a few notes!!! Look at OUR music!!! Dvořák: Yes, I know... I wrote it! What do you want me to do? Write a lot for tambourine? Make him EARN his paycheck? Musicians: Yes!!! Percussionist: FFFFFFFUUUUUUUUUUUU
ever listen to bolero by ravel? that snare plays for 17 minutes straight, the same rhythms and as softly as possible. Percussion definitely earns their pay.
5:58 I am curious for measure 267 to 270 who can do the (3424 3424) instead of the (2313 2313) pattern. Even I am having so much trouble with this section.
+Pedrooko its the Proms in Britain--biggest classical music festival in Britain--its sort of cross between the Boston Pops, patriotism and classical music---big deal over there!
i hear often European orchestras and conductors prefer smallbore trombones, and it sounds like they may be using them here for the 1st and 2nd parts; do you know if this is the case?
