Dvorak - Piano Concerto In G Minor - (MFSL) MFCD814

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Music Dvorak - Piano Concerto In G Minor, Op. 33 - MFSL



Dvorak - Piano Concerto In G Minor, Op. 33 - MFSL

CD FULL RANGE ONLY EXACT AUDIO COPY IMAGE (WAV+CUE) Covers 381 MB (185 MB RAR)



MOBILE FIDELITY SOUND LAB AUDIOPHILE CD



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The artist





(born Nelahozeves, 8 September 1841; died Prague, 1 May 1904).

He studied with Antonin Liehmann and at the Prague Organ School (1857-9). A capable viola player, he joined the band that became the nucleus of the new Provisional Theatre orchestra, conducted from 1866 by Smetana. Private teaching and mainly composing occupied him from 1873. He won the Austrian State Stipendium three times (1874, 1876-7), gaining the attention of Brahms, who secured the publisher Simrock for some of his works in 1878. Foreign performances multiplied, notably of the Slavonic Dances, the Sixth Symphony and the Stabat mater, and with them further commissions. Particularly well received in England, Dvorak wrote The Spectre's Bride (1884) and the Requiem Mass (1890) for Birmingham, the Seventh Symphony for the Philharmonic Society (1885) and St. Ludmilla for Leeds (1886), besides receiving an honorary doctorate from Cambridge. He visited Russia in 1890, continued to launch new works in Prague and London and began teaching at the Prague Conservatory in 1891 (where Joseph Suk was among his most gifted pupils). Before leaving for the USA he toured Bohemia playing the new Dumky Trio. As director of the National Conservatory in New York (1892-5) he taught composition, meanwhile producing the wellknown Ninth Symphony ('From the New World'), the String Quartet in F, the String Quintet in E-flat and the Cello Concerto. Financial strain and family ties took him back to Prague, where he began to write symphonic poems and finally had his efforts at dramatic music rewarded with the success of the fairytale opera Rusalka (1901). The recipient of honours and awards from all sides, he remained a modest man of simple tastes, loyal to his Czech nationality.



In matters of style Dvorak was neither conservative nor radical. His works display the influences of folk music, mainly Czech (furiant and dumky dance traits, polka rhythms, immediate repetition of an initial bar) but also ones that might equally be seen as American (pentatonic themes, flattened 7ths); Classical composers whom he admired, including Mozart, Haydn, Beethoven and Schubert; Wagner, whose harmony and use of leitmotifs attracted him; and his close friend Brahms (notably his piano writing and mastery of symphonic form). Despite his fascination with opera, he lacked a natural instinct for drama; for all their admirable wit and lyricism. his last five stage works rank lower than his finest instrumental music. Here his predilection for classical procedures reached its highest level of achievement, notably in the epic Seventh Symphony, the most closely argued of his orchestral works, and the Cello Concerto, the crowning item in that instrument's repertory, with its characteristic richness and eloquence, as well as in the popular and appealing Ninth Symphony and the colourful Slavonic Dances and Slavonic Rhapsodies. Among his chamber works, landmarks are the String Sextet in A op.48, a work in his national style which attracted particular attention abroad; the f Minor Piano Trio op.65, one of the climaxes of the more serious, classically 'Brahmsian' side of his output - unlike the e Minor op.90, a highly original series of dumka movements alternately brooding and spirited; the exuberant op.81 Piano Quintet; and several of the string quartets, notably the popular 'American' op.96, with its pentatonic leanings, and the two late works, the deeply felt op.106 in G and the warm and satisfying op.105 in A-flat.





The albums Reviews





Dvorák's Piano Concerto is as fine a late-romantic work as any, featuring wonderful interplay between orchestra and soloist, although lacking the all-out virtuosic displays of many other concertos. The pianist's job is more of a collaborative one and Pierre-Laurent Aimard displays great zeal for his part, supplying a supremely colourful performance of drama and vibrancy, combined with a fair amount of refinement. He offers poignant renditions of both the slow movement and the finale, with its hauntingly lyrical second theme, revealing the most idiomatic of piano writing. The piano playing is matched with some spirited conducting, but the real excitement begins with The Golden Spinning Wheel, where Nikolaus Harnoncourt's discernible devotion and an utter understanding of Dvorák's work results in a symphonic poem full of energised rhythms, clarity of texture, and rich colours. His sensitivity to the music, as well as the fine recording that convincingly reveals the expanse of the Amsterdam Concertgebouw, allows its contrasting moods to be perceived with ease.

Add to this the tremendous orchestral performance, especially in the woodwinds, and you simply get two of the finest performances of these works on disc, and a most satisfying addition to an already fine Dvorák series.



On this CD



1. Allegro Agitato

2. Andante Sostenuto

3. Finale. Allegro Con Fuoco