What are you listening to now?

[Hofrat]

Preston;
The scherzo of Dvorak's 2nd symphony will knock you over.

As for the Dvorak's 6th symphony, I fully agree with Roehre about the coda of the 1st movment being one of the best codas written, but allow me to add that the coda of the 4th movement does not lag behind

[Roehre]

Today:

Menotti:
Fantasia for Cello and Orchestra (1975/’76)

Sweelinck:
Livre troisieme des Pseaumes de David (p.1614): pars 1mo

Lambert:
Pomona (1927)

[Preston]

Some observations, hopefully a bit of a help:

Nearly all the scherzos are slavonic dances in one way or another (1,2,5,7-9), or similar to the legends op.59 (4)

1: Zlonice's bells: the only symphony AD never heard himself, and as he lost the score quite shortly after completing it, never revised it. The title refers to the opening movement.

2: The slow mvt IMO depicts riding out of knights.

3: the most wagnerian of AD's symphonies, the only one in 3 mvts.

4: the trio of the scherzo is actually a march, and depending on the interpretation a rather slow one (Kertesz) to a quick march (Kubelik)

5: a very pastoral symphony. Lovely, and with an experiment in form: 2nd and 3rd mvts are connected, the scherzo is a variation following the theme and variations of the 2nd mvt and follows attacca, i.e. without any pause.

6: One of the two dramatic symphonies (the other is 7). Listen especially to the coda of the 1st mvt, as it is IMO one of the great codas of the symphonic literature.

7: IMO the absolute masterpiece of AD's nine symphonies, brooding, dark, brahmsian, with a very logic symphonic discourse from begin to end.
Listen to how AD treats the winds in the slow mvt, especially how horn and wood merge.

8: The most lyrical symphony. Lacks a bit of contrast IMO, has in atmosphere much in common with 5. The finale is a set of variations on a fanfare.

9: that's the one you know already

Thank you Roehre for the brief, yet solid, analysis (I guess one would say, ), appreciate it. Even from the 1st few notes of the 1st mov. of the 1st symphony (lot of 1's, :-)) I think one can tell it is Dvorak. Those first few notes have that depth and "epicness" to them, imo?

Preston;
The scherzo of Dvorak's 2nd symphony will knock you over.

As for the Dvorak's 6th symphony, I fully agree with Roehre about the coda of the 1st movment being one of the best codas written, but allow me to add that the coda of the 4th movement does not lag behind

Hofrat, I will listen to the scherzo and 6th and write back. Still need to look into what a coda exactly is - I know it part of sonata form (which I think I once knew more about than I do now), though am not really sure what it is? Will have to research that also. The scherzo from the 9th is powerful, and knocks me against the wall, - and for some reason in ways reminds of the not only the scherzo from Beethoven's 9th but that tremolo effect reminds of the 1st mov. of Beethoven's 9th. Though there is no doubt the opening chords of the 3rd mov. of Dvorak's 9th sound like Beethoven's 9th in a way? I mean the chords and then timpani?

I think there is a lot of diversity in each mov. of the symphonies I have heard - and diversity is often a good thing. I like that - so many changes in emotion and what not.

[Roehre]

The scherzo from the 9th is powerful, and knocks me against the wall, - and for some reason in ways reminds of the not only the scherzo from Beethoven's 9th but that tremolo effect reminds of the 1st mov. of Beethoven's 9th. Though there is no doubt the opening chords of the 3rd mov. of Dvorak's 9th sound like Beethoven's 9th in a way? I mean the chords and then timpani?

Preston, of course it is possible that the very beginning of this scherzo was composed with an unconsciously made pointer to Beethoven 9's scherzo, but IMO it is an actual and very conscious reference to that work.

I do think so, as the 2nd mvt is said to contain a quote from an American Indian song (the famous English horn solo, that is), while the finale quotes Yankee doodle in the bass line.
Those other quotes make it IMO the more unlikely that the Beethoven one was unconsciously made.

[Hofrat]

Roehre;

Not an American-Indian song, rather an Afro-American song entitled "Nightengail."

[Roehre]

Roehre;

Not an American-Indian song, rather an Afro-American song entitled "Nightengail."

Thanks Hofrat. I knew there was something odd in what I wrote.
AFAIK (therefore my "is said"): Sofar it hasn't been completely established whether this is an original song quoted by Dvorak, or a melody by Dvorak adapted by Americans.
Whatever, it is rightly famous.

[Roehre]

Today:

Ravel:
Bolero
Pavane pour une infante défunte
Rapsodie espagnole

Sweelinck:
Livre troisieme des Pseaumes de David (p.1614): pars 2do

Lambert:
Tiresias (1950/’51)

Berlioz (arr.Liszt):
Marche de Pélérins op.16
Valse des sylphes op.24
Ouverture du Roi Lear op.3

[Preston]

Preston, of course it is possible that the very beginning of this scherzo was composed with an unconsciously made pointer to Beethoven 9's scherzo, but IMO it is an actual and very conscious reference to that work.

I do think so, as the 2nd mvt is said to contain a quote from an American Indian song (the famous English horn solo, that is), while the finale quotes Yankee doodle in the bass line.
Those other quotes make it IMO the more unlikely that the Beethoven one was unconsciously made.

1: Zlonice's bells: the only symphony AD never heard himself, and as he lost the score quite shortly after completing it, never revised it. The title refers to the opening movement.

You make an interesting point - did Dvorak compose the scherzo of his 9th consciously referring to Beethoven's scherzo from his 9th?

I didn't think that far about it, . I guess it is possible that he did it unconsciously, though, I too, agree with you that seemingly he did it consciously. The tempo, quick ?marcato? notes, instrumentation, etc. have a similar sound, yet remain different. And the opening is sounds quite familiar to the Beethoven scherzo.

Either way, Dvorak wrote some powerful symphonies! The more I listen to the 9th the more I understand the feelings. I have started listening to the 1st mov. of his 1st symphony, and am doing pretty good with picking up on it. As I said, the more I listen the more I get the music, with Dvorak - Beethoven, has been something of a different story for me.

Back to the power, as an ex. the 1st mov. of the 1st symphony, for some reason I enjoy listening to it, though not for too long - because it will start getting me to worked up! It is pretty hardcore, if I may say so. For instance, at around 2:00 on the recording it builds up all of a sudden (in a sense), then the timpani slams (sounds as if everything just stops, yet it doesn't) and the woodwinds (primarily hearing a flute) start playing this back and forth pattern while the cellos take the theme, all while that timpani is being "slammed", and so on. Either way, my point is it gets too much and I go back to the calmer music, .

Didn't Dvorak write the 1st symphony when he was 24?

[Roehre]

Today:

Ravel:
Ma Mère l’Oye
La Valse

Mahler:
Symphony no.7 : Scherzo

Sweelinck:
Livre troisieme des Pseaumes de David (p.1614): pars 3o

Saint Saens (arr.Liszt):
Danse macabre op.40 S.555 (1876)

Chopin (arr.Liszt):
6 Polish Songs op.74 S.480 (1847/’60)

Brian:
Psalm 23 op.9 (1901, score reconstructed 1945) (R3: The Choir)

[Roehre]

Didn't Dvorak write the 1st symphony when he was 24?

Yes, Dvorak was 23/24 as he wrote the 1st symphony.

[Sorrano]

This morning:

Kreisler/Rachmaninoff: Liebesfreud

Rachmaninoff: Aleko Suite, 1st movement from Piano Concerto No. 4

[Chris]

Bach - The Toccatas and Passacaglia (BWV 538, 540, 564, 565, 582) - Christopher Herrick

[Roehre]

Today:

Sweelinck:
Livre second des Pseaumes de David (p.1613): pars 2

[Preston]

Yes, Dvorak was 23/24 as he wrote the 1st symphony.

Thank you, Roehre. I thought that was true based on briefly reading Wikipedia, though was not entirely sure. I was not entirely clear either - I find it amazing that he wrote such, power, at such a young age. At least, it sounds that way to me, though music is subjective and, sadly, therefore I wonder if I am feeling what I am hearing correctly... ?

[Roehre]

I find it amazing that he wrote such, power, at such a young age. At least, it sounds that way to me, though music is subjective and, sadly, therefore I wonder if I am feeling what I am hearing correctly... ?

Preston, does that matter?
It is you who is enjoying or appreciating the music your way.
There is quite a lot of music which I do knowingly appreciate differently from what the composer (according to his utterances in one way or another) meant.
One reason for this: one's personal circumstances at the moment you did hear the music for the very first time.
Another: the time lapsed between now and the date of composition - we (as 20/21C listeners) do assume there is something behind the notes. May be true, may be disputable, but especially pre-1800 music most of the time is just that: pure music, produced by composers who worked like carpenters (to name just one craft): doing their craft, and as good as possible.
And there are many other reasons as well.
So don't be worried, IMO it doesn't really matter.

Of course it makes it sometimes easier to know a couple of things regarding the background of the composer and particular pieces of his.
But I'd like to stress that it is you, who is listening to music, and you who should enjoy it.