Antonin Dvořák – Symphony No 9 in E minor Op 95

[geoffrey terry]

As you have never before heard it. As it should be heard.

Presumably, like me, you already have a CD of the Symphony No 9 by Antonin Dvořák. However, I doubt that you listen to it very often.
There are literally hundreds of different recordings. Some, where the playing is excellent. Some, where the recording is excellent. Some, where both playing and recording are excellent. There are others where both playing and recording are totally unacceptable.
However, whenever I listen to one particular recording it is like hearing the piece for the first time - every time.
There are no dramatic changes of tempo, no extremes of any sort, just a perfect performance and a perfect recording. It is like looking at a painting after restoration.
It is profoundly Czech, why would it not be? It is played by a Czech Orchestra and conducted by a true, Czech giant. Jiři Waldhans.
Once, whilst travelling on tour with the Brno Philharmonic Orchestra in the UK I was asked what BRNO signified, was it perhaps the British Railways Northern Orchestra? And that was a serious suggestion.
To the English ear it is a strange sounding name, Brno. Probably not many appreciate that Brno is the second largest city in the Czech Republic, the capital of Moravia. It is just a short journey north of Vienna, in fact nearer to Vienna than to Prague. Now we have all heard of Prague.
The Brno Philharmonic Orchestra is one of the largest in Europe. It is one of only three orchestras ever to have played for the Pope - now he’s fussy.
I once heard the Czech Philharmonic performing Dvořák’s Stabat Matter in Prague. The following evening I heard the same work performed by the Brno Philharmonic Orchestra in Brno. To my surprise I enjoyed the second performance more than the first. The conductor, Antonio Ross Marba, directed both performances, so a difference in style was not the reason. The Czech Philharmonic is of course a wonderful Orchestra, one of the
greatest in the world; the point is that the Brno Orchestra should be considered in the same category.
The Brno Philharmonic Orchestra, with their principal conductor, Jiři Waldhans gave a performance of Dvořák’s 9th Symphony in the Royal Festival Hall on the 22nd October1966. If was a live, public performance on the very first tour of the UK by the orchestra.
The concert was also recorded and the recording technique employed was CNSTR. What is that? Certified, natural, sound, technique recording; (more below).
The string section, on that historic occasion, constituted of: 16 first violins, 16 second, 16 violas, 16 cellos and 8 double basses, with a normal compliment of woodwind, brass and percussion. A full, Symphony Orchestra indeed.
The opening pp bars of the first movement set the scene, controlled and electrifying. Then the French Horns brief comment followed by the woodwind, responding with heartrending clarity, as if drifting across a calm lake. The calm is then broken by a snapped announcement from the strings, followed by a crisp triplet on the timpani – the unmistakable sound of wood striking skin, of that there is no doubt. (It seems that capturing that particular sound creates difficulty for many CD publishers, not so here).

The programme included a little known masterpiece, Jan Novák’s Philharmonic Dances (18:28)
Jan Novak was the only pupil of Bohuslav Martinu and, being tutored by such a distinct master, Novak could not fail but be influenced by the individualism of the newly rediscovered genius. The Philharmonic Dances were written for large orchestra. By good fortune the orchestra fulfilled the composers requirements.
The first movement, Allegro, opens with the side drum dictating a staccato beat, which is then taken up by the strings and horns in counterpoint announcing the two themes which hop around amongst all the sections of the orchestra. The development becomes slightly grotesque but reverts to sanity intermittently.
By contrast the second movement, moderato, is gentle and lyrical. The hurdy-gurdy imitation of the central passage leads to the first, short example of syncopation, almost a trademark of Novak.
The final movement, vivace, as with the first movement opens with the side drum and quickly settles to syncopated rhythms that grow, utilising all the facilities available in the orchestra.
The composition is full of melodies, colourful orchestration and all the diverse sounds are captured on this recording with remarkable clarity.
Out of deference to their host country two very English pieces by Frederick Delius were chosen to close the concert.
One might expect that Irmelin and Koanga from La Calinda need to be performed by a British ensemble to achieve a musical picture of the English countryside. Here the Czechoslovaks, as they were at the time of concert, undertake the task and achieve perfection.
The CD described above is the first CD ever to carry the CNSTR approval. It is also the first to be published by www.orchestralconcertcds.com A visit to the site will give you the opportunity to judge the sound quality, from sound samples of the CDs currently available.

[stephen w]

Originally Posted by geoffrey terry

Out of deference to their host country two very English pieces by Frederick Delius were chosen to close the concert.

It seems to me that (pace Beecham) Delius was one of the least 'English' composers that ever lived. He apparently didnt like England, and lived most of his life in America and France.

Finzi, Butterworth, Vaughan Williams, Britten, perhaps...

Originally Posted by geoffrey terry

might expect that Irmelin and Koanga from La Calinda need to be performed by a British ensemble to achieve a musical picture of the English countryside. Here the Czechoslovaks, as they were at the time of concert, undertake the task and achieve perfection.

I really think it's questionable, the idea that to express the real truth of a work of art (whether in music, drama, film) you need to be of the nationality of the writer/composer.

It is no surprise that the Czechoslovaks should play this music wonderfully. Equally, I own an excellent CD of Janacek



by the New Zealand Symphony Orchestra, quite as 'authentic' in my view as anyone else.

[Mirror Image]

Originally Posted by stephen wainman

It seems to me that (pace Beecham) Delius was one of the least 'English' composers that ever lived. He apparently didnt like England, and lived most of his life in America and France.

I think this about Delius too. His music is rooted in all kinds of influences from African-American spirituals to the lyrical heights of Grieg to the Impressionism of Debussy.

[geoffrey terry]

Originally Posted by stephen wainman

It seems to me that (pace Beecham) Delius was one of the least 'English' composers that ever lived. He apparently didnt like England, and lived most of his life in America and France.

Finzi, Butterworth, Vaughan Williams, Britten, perhaps...




I really think it's questionable, the idea that to express the real truth of a work of art (whether in music, drama, film) you need to be of the nationality of the writer/composer.

It is no surprise that the Czechoslovaks should play this music wonderfully. Equally, I own an excellent CD of Janacek



by the New Zealand Symphony Orchestra, quite as 'authentic' in my view as anyone else.

Following 18 years of living outside the UK I became so nostalgic that we were forced to sell our beautiful home and return to windswept, flat East Anglia, the only area in which we could afford to buy a house. I longed for the land of Elgar and Constable, the Proms and English cottages scattered amongst grazing sheep.
We remained only two years and hurriedly left, England was no more, I found only the 51st state of the USA. The Prom transmissions on radio were so poor that I found them unlistenable, compared with the late 1960's.
We are now back in the Czech Republic, where I still lack the feel of old England but at least my wife can be in her motherland.
During the now more than 25 years outside the UK I still feel English and although, as you quite rightly say Delius did not particularly like England and also spent a great deal of his time abroad, for me the sound of his music is English. It certainly does not sound French or American. Even weaving American folk music into his compositions the Englishness remains, I would go so far as to say that his music is fundamentally English.

It is no surprise that the Czechoslovaks should play this music wonderfully.

Because there is tradition involved? Or because Czech musicians would by definition play any music well?

I really think it's questionable, the idea that to express the real truth of a work of art (whether in music, drama, film) you need to be of the nationality of the writer/composer

.

Certainly I thoroughly agree that to offer a work of art of a particular nationality it is not necessary to be of that nationality.
My comment was in fact to emphasise your very point. Nevertheless when a Russian Orchestra visits the UK, for example, one would hope to hear them perform Shostakovich, and that is not to say that the London Symphony Orchestra could not perform that or any work of any national origin equally as well.

I have never had the pleasure of hearing the New Zealand Symphony Orchestra but I am confident that they are perfectly competent to play music of any national origin.

All that said, in the back of my mind I do have many experiences of Czech orchestras playing Dvorak, and Janacek, (we live 40km north of Janacek's birthplace and 20km south of the birthplace of Bohuslav Martinu), there is something about such a performance which one cannot even define, which, yes, is Czech. This is a very ancient nation full of tradition and when Dvorak wrote the 'New World Symphony' he wrote a profoundly Czech composition.
Now there is total confusion.
Kind regards,
Geoffrey