Dvorak is truly amazing, there is so much for the modern composer to learn from him. So many subtleties of development, form, renewal, music that is overflowing with life.
Since a couple of years ago, I decided that my musical heart was with duos, trios, quartets, quintets and sextets (strings with piano). Symphonies are much too grandiloquent, and I feel form and thematic material are best treated in this kind of ensemble works. I still have many great symphonies in my audio archive like various by Allan Pettersson (the last that I downloaded was the first movement of Michael Tippett 2nd symphony and a lot of time before that some symphonic work by Ter Tadevosyan). When it is a work before the First world war, I keep the rule of only works in minor tonality; until today, Dvorak has been the only master composer that has attracted my attention with works in major tonality. Although for me the tonality of his piano quartets and quintets is continually shifting and at times this gives a kind of schizophrenic feel to them, he always has some interesting passages worth keeping (I am downloading all of them) Thanks for sharing and kind regards, MSM
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Seemingly effortless invention, bar after bar, Dvorak's distinctive voice, already firmly established. Light, yet profound at times. Superb work, superb performance.
Dvorak is truly amazing, there is so much for the modern composer to learn from him. So many subtleties of development, form, renewal, music that is overflowing with life.
I was spellbound. The middle movement of variations was completely new to me - what a surprise! Such a clear performance throughout this quartet.
Since a couple of years ago, I decided that my musical heart was with duos, trios, quartets, quintets and sextets (strings with piano). Symphonies are much too grandiloquent, and I feel form and thematic material are best treated in this kind of ensemble works. I still have many great symphonies in my audio archive like various by Allan Pettersson (the last that I downloaded was the first movement of Michael Tippett 2nd symphony and a lot of time before that some symphonic work by Ter Tadevosyan). When it is a work before the First world war, I keep the rule of only works in minor tonality; until today, Dvorak has been the only master composer that has attracted my attention with works in major tonality. Although for me the tonality of his piano quartets and quintets is continually shifting and at times this gives a kind of schizophrenic feel to them, he always has some interesting passages worth keeping (I am downloading all of them)
Thanks for sharing and kind regards,
MSM
Why is the beginning of the piece not at the right octave for the cello ?
Dvorak used to write tenor key as the violin one trasposed down an octave, like for choirs... don't know why
They often write cello part in G key, implying it must be transposed an octave lower. Especially in chamber ensembles and orchestra