Dvorak's Den

Started by hornteacher, April 07, 2007, 06:41:48 AM

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Mirror Image

The Noon Witch (Polednice), Op. 108



Like each of his other four tone poems -- save only the last -- Antonín Dvorák's second orchestral tone poem, Polednice, or The Noon Witch, Op. 108, is modeled after a poem by Czech poet Karol Jaromír Erben. Dvorák's sudden urge to try his hand at true program music was so strong that he hadn't yet even finished sketching out The Water Goblin, Op. 107 -- his first symphonic poem -- when he started plotting his musical course through Erben's Polednice in mid-January 1896. The Noon Witch is, it must be said, a very attractive and justly famous piece of music; to some, it is the finest of Dvorák's tone poems. Dvorák's achievement is made all the more impressive by the realization that he took just three days to sketch the work out, and then, in February, two weeks to orchestrate it.

Erben's poem tells of the legendary Noon Witch, summoned by a mother to call her reckless and restless child to order. Unfortunately, the Noon Witch effects the fainting of the mother and the suffocation of the child; when the father returns home and wakens his wife the two discover and lament their loss. Dvorák treats the poem in a kind of continuous miniature symphonic form. The four ordinary movements of a symphony are all in place, but are played without breaks between them.

At the beginning of the opening Allegretto is introduced the happy, frolicking little motive that will be reshaped into a large portion of The Noon Witch's material; there is shortly a brief foreshadowing of the Andante sostenuto music that will form the second movement, easily dispatched by the child as he continues to horse around. Things grow very heated, and only the arrival of the actual Andante sostenuto can tame matters; but it is not a comfortable tameness, for ever within this music -- with its gripping semitone oscillations and its bizarre tune for bassoon and bass clarinet -- is the mother's threat of summoning the Noon Witch. As the child becomes unmanageable once again, the mother makes good her threat, and the Witch arrives and dances a wild dance (Allegro -- the scherzo movement) in which the happy clarinet motive of the opening is tossed about upside down. The final movement of this pseudo-symphony, Andante, is full of sharp articulations and pained rhythms: the father has returned and the tragedy is revealed -- and all the passionate pleading of the strings (maestoso, triple-forte) cannot return his child to him.

[Article taken from All Music Guide]

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Another symphonic poem from Dvorak that I love. Hell, I love them all what am I talking about?!?!? ;D Any favorite performances of this work? I don't know but two performances (right now) and they are Neumann/CzPO and Harnoncourt/Concertgebouw. Both are excellent.

Brahmsian

Quote from: Mirror Image on June 14, 2016, 06:42:22 AM
The Noon Witch (Polednice), Op. 108




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Another symphonic poem from Dvorak that I love. Hell, I love them all what am I talking about?!?!? ;D Any favorite performances of this work? I don't know but two performances (right now) and they are Neumann/CzPO and Harnoncourt/Concertgebouw. Both are excellent.

My favourite of Dvorak's tone poems.  Love the Mackerras/CzPO and Rattle/BPO recordings.

Mirror Image

Quote from: ChamberNut on June 14, 2016, 10:49:57 AM
My favourite of Dvorak's tone poems.  Love the Mackerras/CzPO and Rattle/BPO recordings.

Have you heard Neumann/CzPO or Harnoncourt/Concertgebouw, Ray? You'll dig these.

Mirror Image

The Golden Spinning Wheel (Zlatý kolovrat), Op. 109



The The Golden Spinning Wheel, or Zlatý kolovrat, Op. 109, is the third of Antonín Dvorák's four 1896 orchestral tone poems on subjects taken from the poetry of Karel Jaromír Erben. Its plot, put simply, is quite ludicrous; that Dvorák should succeed in making a fine piece of music from it is a testament to the notion, oft-stated and oftener-demonstrated by composers throughout the nineteenth century, that a sensible plot line is by no means necessarily the best choice for a program-music subject. Dvorák sketched The Golden Spinning Wheel during January and February of 1896 and orchestrated it some weeks later. At its premiere in October 1896, Dvorák's critics and colleagues alike found the work too long; as a result, a number of cuts concocted by Dvorák's friend and son-in-law Josef Suk are generally made, not necessarily to the work's betterment.

Erben's Zlatý kolovrat tells the tale of a king who falls in love with a simple peasant girl. After he has invited her to his castle, her evil stepmother kills her, cuts off her feet and hands and removes her eyes, and substitutes her own daughter -- who is apparently the stepdaughter's spitting image -- in her place. Unwittingly, the king weds the evil daughter, but, fortunately, an old man stumbles across the body of the king's beloved. He sends his young lad up to the castle three times -- to exchange three items, including a golden spinning wheel, for the hands, feet, and eyes of the dead daughter -- and then proceeds to resurrect the king's beloved. The golden spinning wheel turns out to be the stepmother's and daughter's undoing: when the king's new bride begins to spin, the magic spinning wheel spins out the awful truth. The king seeks out his true beloved in the forest and the two live happily ever after, while the evil stepmother and daughter are eaten by wolves.

Dvorák's treatment of this material is very free indeed. Much of the music of The Golden Spinning Wheel really does spin, starting with the rolling cello triplets of the very opening (which are presumably intended to reproduce the gallop of the king's horse). There is a pleasing economy to the way that the horn fanfare idea that announces the king at the opening takes on new shapes as the work unfolds; the most colorful of these is the harshly dissonant version in parallel seventh chords (over an uncooperative pedal-point) that depicts part of the king's encounter with the evil stepmother and her daughter. Dvorák pulls out all the stops at the end, when the violins soar up to the heights of the reunited lovers' passion; in the final bars, as the king's fanfare is given a robust Allegro ma non troppo treatment, one can almost hear them riding off into the sunset.

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Another fantastic work from Dvorak and his third in this series of symphonic poems based off the work of Karel Jaromír Erben. I love the rather raucous beginning of The Golden Spinning Wheel. What does everyone think of these works? Any favorite performances?

Brahmsian

Quote from: Mirror Image on June 14, 2016, 06:33:11 PM
Have you heard Neumann/CzPO or Harnoncourt/Concertgebouw, Ray? You'll dig these.

Haven't heard the Neumann, but I may have heard the Harnoncourt.

Mirror Image

#425
The Wild Dove (Holoubek), Op. 110



After composing his first three orchestral tone poems in a frenzy of activity at the opening of 1896, Antonín Dvorák took several months off to do other things before starting work on his fourth, The Wild Dove, Op. 110, in late October. The premiere of the work, which took place the following March, was conducted by a then up-and-coming Leos Janacek -- but, of course, by the late 1890s Dvorák was one of Europe's most established musicians, and Janacek's name is by no means the most prominent among those who conducted the premieres of Dvorák's five tone poems; Hans Richter, Henry Wood, and Gustav Mahler make fine podium peers!

The Wild Dove (or, The Wood Dove), like Dvorák's first three tone poems, takes a poem by Karol Jaromír Erben as its dramatic starting point. Four musical "scenes" relate the story of a woman who poisons her husband (there is a grim funeral march) to wed another man (everything grows bright and a happy dance commences), and when she hears a gentle dove-call above her dead husband's grave, her suppressed guilt is brought to the surface and she takes her own life (an Andante in which the dove is heard in the winds and harp). Dvorák adds a musical epilogue after the sordid tale has run its course.

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Dvorak's last symphonic poem of this cycle based off Erben's work and a truly remarkable work. Neumann's performance with the Czech Philharmonic made a huge impression on me. I love all of these works, but The Wild Dove may just be my favorite. What do you guys think of the work?

amw

Quote from: Mirror Image on June 15, 2016, 05:47:36 PM
Dvorak's last symphonic poem
https://www.youtube.com/watch?v=Tv8sHg8UyCw

I haven't actually ever listened to any of Dvořák's symphonic poems more than once ish and evidently without paying a lot of attention. Maybe should look into that as a new listening idea when I get bored of the supraphon chamber music boxes, if that ever happens

Mirror Image

Quote from: amw on June 16, 2016, 01:45:08 AM
https://www.youtube.com/watch?v=Tv8sHg8UyCw

I haven't actually ever listened to any of Dvořák's symphonic poems more than once ish and evidently without paying a lot of attention. Maybe should look into that as a new listening idea when I get bored of the supraphon chamber music boxes, if that ever happens

What I meant was his last of this cycle based off Erben's work. As for the Supraphon chamber sets, I doubt you will ever tire of them, but this is no reason why you can't listen to the symphonic poems. There's enough music to go around for everyone. :)

Brian

Quote from: amw on June 16, 2016, 01:45:08 AM
I haven't actually ever listened to any of Dvořák's symphonic poems more than once ish and evidently without paying a lot of attention. Maybe should look into that as a new listening idea when I get bored of the supraphon chamber music boxes, if that ever happens
I do love the four symphonic poems based on Erben, and recommend them highly - they often feel like attempts to extract maximum color and late-romantic incident out of the minimum possible melodic resources. Dvořák is still Dvořák, of course, in almost every way, with an even bigger palette of orchestral sound and maybe a Mahlerian tendency to excess, but at the same time that you have that excess, you have strictness, too. The Wild Dove is the finest example - it's a theme and variations, more or less; the dance and love song episodes are just tweaks to the opening funeral march theme. Dvořák wanted to show, I suppose, that he didn't just have a gift for melody; he had a gift for taking one melody and spinning it in any direction. The Water Goblin is maybe a rondo, but the main theme is insisted upon in every episode, and nearly every minute, with monomaniacal determination, like a serial killer lurking in the background sizing up each victim. It creates quite an impression seen live in concert, too - the ending, with one final near-silent statement of that theme stretched out over a minute, keeps the whole crowd shut-up and trying their best not to cough.

Maybe the exception to the "economical structure but with bells and whistles" rule is Noon-Day Witch - but that's also the shortest and pithiest. In general, the assignment Dvořák gave himself seems to have been to go on "Survivor" and build a cruise ship.

There are many high-quality recordings; Mackerras' are my favorite, but between Neumann, Kuchar, Harnoncourt, Kertesz, and Wit (Goblin only), it's not like there are wrong answers. There seems to be some controversy regarding what cymbals are to be used in Water Goblin; I don't recall where everyone stands on that.

Madiel

I definitely need to listen to them again. My memory is that The Water Goblin made a strong impression because the story was conveyed particularly clearly to me.
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Mirror Image

I'm currently looking at various Dvorak box sets (for future purchases) and would be thankful for any commentary on these:

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mc ukrneal

Quote from: Mirror Image on June 16, 2016, 06:46:59 PM
I'm currently looking at various Dvorak box sets (for future purchases) and would be thankful for any commentary on these:
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I have a different printing (different cover), but same version. I can confirm it is excellent. In general, the choice is probably between this one and the Mackerras. When the Mackerras came out it was lauded, and for good reason. I don't think you would be disappointed with either. Benackova is excellent here though. That said, Fleming is excellent too (with Mackerras). There is also the Chalabala recording with Milada Subrtova, which is also very good (on Supraphon). Honestly, any one of them does justice to the opera.

The only other version I might consider is with Hickox, which received good reviews, but I have not heard.
Be kind to your fellow posters!!

Mirror Image

Quote from: mc ukrneal on June 16, 2016, 09:07:04 PM
I have a different printing (different cover), but same version. I can confirm it is excellent. In general, the choice is probably between this one and the Mackerras. When the Mackerras came out it was lauded, and for good reason. I don't think you would be disappointed with either. Benackova is excellent here though. That said, Fleming is excellent too (with Mackerras). There is also the Chalabala recording with Milada Subrtova, which is also very good (on Supraphon). Honestly, any one of them does justice to the opera.

The only other version I might consider is with Hickox, which received good reviews, but I have not heard.

Thanks, Neal. That Mackerras recording does look mighty tempting. :)

mc ukrneal

Quote from: Mirror Image on June 17, 2016, 03:04:38 AM
Thanks, Neal. That Mackerras recording does look mighty tempting. :)
And unlike the Janacek sets, he did the Dvorak with the Czech Philharmonic, which I think adds a little something...
Be kind to your fellow posters!!

North Star

#434
Quote from: mc ukrneal on June 17, 2016, 04:15:25 AM
And unlike the Janacek sets, he did the Dvorak with the Czech Philharmonic, which I think adds a little something...
You mean, unlike the Janáček recordings of Mackerras on Decca or EMI - on Supraphon, the Káta, Amarus, Glagolitic, Šárka, and the recording of much of the orchestral works along with some opera overtures all feature the Czech Phil:)
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Brian

#435
The Naxos box was on my wishlist for a long time in college/post-grad, but I ultimately listened to everything streaming anyway.

Here's a breakdown:

Excellent - CD7 (Piano Concerto / Water Goblin - though in the piano concerto, Richter and Aimard are still the medalists); Symphonies 1, 2, 4, 6, and 9; Symphonic Variations; various recordings involving Antoni Wit (e.g. Czech Suite, Festive March)
Pretty good - Symphony 5; Violin stuff CD; Cello stuff CD; Slavonic Rhapsodies; overture discs; Serenade for Strings
Okay/flawed/tolerable - Slavonic Dances; Symphonic Poems; various recordings involving Dmitry Yablonsky
Among the worst recordings ever made - Symphonies 7 and 8
Can't remember - Symphony 3; Serenade for Winds

Overall I'd say if you'd like some valuable Naxos recordings, you are better off going singly with these:



and although it is not part of that series or box



And of course Naxos does have very good recordings of the chamber music with Vlach Quartet Prague.

EDIT: Forgot by far the best Dvorak recording to ever appear on Naxos, a real Great Disc in both sound quality and performance:


mc ukrneal

Quote from: North Star on June 17, 2016, 04:34:21 AM
You mean, unlike the Janáček recordings of Mackerras on Decca or EMI - on Supraphon, the Káta, Amarus, Glagolitic, Šárka, and the recording of much of the orchestral works along with some opera overtures all feature the Czech Phil:)
I stand corrected...
Be kind to your fellow posters!!

Jaakko Keskinen

Dvorak's tone poems are incredible. My favorite has to be The Golden Spinning Wheel.
"Javert, though frightful, had nothing ignoble about him. Probity, sincerity, candor, conviction, the sense of duty, are things which may become hideous when wrongly directed; but which, even when hideous, remain grand."

- Victor Hugo

Mirror Image

Quote from: Brian on June 17, 2016, 06:21:06 AM
The Naxos box was on my wishlist for a long time in college/post-grad, but I ultimately listened to everything streaming anyway.

Here's a breakdown:

Excellent - CD7 (Piano Concerto / Water Goblin - though in the piano concerto, Richter and Aimard are still the medalists); Symphonies 1, 2, 4, 6, and 9; Symphonic Variations; various recordings involving Antoni Wit (e.g. Czech Suite, Festive March)
Pretty good - Symphony 5; Violin stuff CD; Cello stuff CD; Slavonic Rhapsodies; overture discs; Serenade for Strings
Okay/flawed/tolerable - Slavonic Dances; Symphonic Poems; various recordings involving Dmitry Yablonsky
Among the worst recordings ever made - Symphonies 7 and 8
Can't remember - Symphony 3; Serenade for Winds

Overall I'd say if you'd like some valuable Naxos recordings, you are better off going singly with these:



and although it is not part of that series or box



And of course Naxos does have very good recordings of the chamber music with Vlach Quartet Prague.

EDIT: Forgot by far the best Dvorak recording to ever appear on Naxos, a real Great Disc in both sound quality and performance:



Thanks for this breakdown, Brian. Very much appreciated. A lot to consider, but I have so much to listen to in regards to those Supraphon sets I bought.

Madiel

Hmm. I've been eyeing a Naxos 2-disc set which has the Slavonic Dances, Slavonic Rhapsodies and the earlyish Rhapsody in A minor.

I believe it's the same recordings as in that larger box - Zdenek Kosler for the Slavonic Dances and op.45 Rhapsodies, Libor Pesek for the Rhapsody in A minor, so it's a pity that the Slavonic Dances side of it isn't getting much of a thumbs up. Though the other disc is still probably one I can get separately.
I am now working on a discography of the works of Vagn Holmboe. Please visit and also contribute!