On Wednesday, February 17, 2010

Classic and Opera | Masterpieces

Symphony N ° 8 of Antonín Dvorak

Symphony N ° 8 of Antonín Dvorak

The Eighth Symphony was initiated on August 26, 1889 and there finished November 8 of the same year. Dvorak directed the premiere in Prague, on February 2, 1890. The work reflects not only the happiest Dvorak humor, but also a continuation of the commitment with the Czech nationalism of his music. Because it was composed in his summer house in Vysoká, far from the professional pressures of the urban life and possibly because the composer was proposing to invoke the folk music, the symphony was composed without effort.







Many composers, at least from Beethoven, have written a symphony that stands out inside his work like pacific, simple and natural. Beethoven called his the Pastoral one. Other composers perhaps have not taken given of Beethoven the title (although Vaughan Williams did for his Third Symphony) not even his linkage of program of a symphony without problems, with images of the field, but there is a certain idyllic humor that there is shared by the Second one of Brahms, the Spring of Schumann, the Fifth one of Schubert, the Fourth one of Mahler, the Seventh one of Prokofiev, the Expansive one of Nielsen, the Romantic of Bruckner, the Scot of Mendelssohn and the Eighth one of Dvorak.

The Symphony Octave reflects not only the happiest Dvorak humor, but also a continuation of the commitment with the Czech nationalism of his music. Because the work was composed in his summer house in Vysoká, far from the professional pressures of the urban life and possibly because the composer was proposing to invoke the folk music, the symphony was composed without effort. He was feeling that his mind was overflowing of musical ideas: "If he could only write them immediately! But there - I must go slowly... The melodies simply sprout of me." Because the music was flowing easily, the composer could initiate the symphony only one week after having finished his previous work, a Quartet of Piano. Only the third one took him twelve days to compose the first movement, another week the second one, four days and six days the end. The orchestration was finished six weeks later.

Two months, after finishing the work, the composer presented it to the Academy of Bohemia for Stimulus of the Art and the Literature, of which recently he had been a designated member. Also it presented the symphony like his "exercise" when, in 1891, it got the honorary doctorate for the University of Cambridge. The work was interpreted in the presentation ceremony together with his Stabat Mater. Dvorak remembered the event:
I will never forget how I felt when they made me a doctor of England. Except at all the ceremony and nobody except confer a doctorate. All the faces were serious and it seemed to me that none knew any other language that the Latin. It was looking at the right and at the left and did not know to whom he had to listen. And when I realized that they all were speaking to me, I experienced a big impact and felt shamed not to know Latin. But when I think about that today, I laugh, and think that to compose Stabat Mater is, after everything, more that to know Latin.
The Eighth Symphony, in spite of his apparent simplicity, presents new ways of confronting the symphonic form. The first movement begins with a topic that is a miscellany of introduction and exhibition. Like introduction, he drives to the symphony moving towards the principal tonality. But in contrast to an introduction, it is executed in the same rapid time as the rest of the movement. What the principal topic turns out to be it is listened a little later: a tune of folk simplicity, interpreted by the alone one of flute. The second topic characterized by the ascent with jump of octave in the winds, uses a typical device of the Czech folk music: his opening compass repeats two times before going forward.

The second movement also has an unusual structure. It begins with a topic partly solemnly and partly shooting that at first seems to flutter between My biggest flat and minor Do. What seems to be an opposite topic comes in major Do: with an accompaniment of scales of violin, the flute and the oboe touch a melody exquisitely pacific. This tune seems to be too calm to present the traditional conflict with the principal topic. And this way it it is, since the music never again returns to My biggest flat or to minor Do. With hindsight, we understand that the opening, as it seems of the first movement, is both an introduction and an exhibition. The trusting character of the melody in major Do impregnates the music. It is this second topic, not the first one, which returns after the development section. Even when the topic of the opening finally returns, it does it in tonality of the second topic.

The third movement is structured of traditional form. It consists of a waltz of unequivocal Czech folk character, with an average section that is also of folk type. To the beginning of this trio, the flute and the oboe they execute a beautiful tune with a delightful accompaniment of ropes and kettledrums. This melody is taken of the opera of Obstinate Loving Dvorak Los. After the waltz returns, the average section transforms in a rapid dance to finish the movement. In his simplicity, this movement remembers the Slavonic dances of the composer.

The end is a set of changes. After a trumpets fanfare, we hear the principal topic in the violoncellos. This melody begins, as the topic of the flute in the first movement, with an ascending tonic triad. The composer had difficulties to construct this melody. In fact he wrote ten versions different from her. It is fascinating to compare them to see how it emerges, step by step, in his final form. The changes are moving away progressively from the initial topic, happening across a delightful change in flute and a section in minor Do, before the trumpets fanfare indicates the return to the topic in his original appearance.

More Notes
Death and Transfiguration of Richard Strauss
I agree for piano for the left hand of Maurice Ravel
Concert 5 for Piano and Band of Sergei Prokofiev
The spring Consecration of Igor Stravinsky
Symphony 5 of Jan Sibelius

To see Record




Brief

  • On February 17, 1653: Arcangelo Corelli, musician and Italian composer is born. Grosso contributed to the crystallization of the concerto. Author of numerous instrumental works (Concert of Christmas, The Follia, sonatas), father of the sonata for violin and inspirer of a group of composers of this instrument like Varacini, Germiniani and Viotti.

  • On February 13, 1883: Richard Wagner dies in Venice. Composer of German origin, renovator of the romantic opera. His inclination towards the music did not wake up up to knowing the works of Weber and Beethoven. After a life lax and invested in the game and the women, he married and traveled to Paris and then to Dresden, where his work was recognized. The transfer of his remains was comparable to the funeral procession of a big sovereign one.

  • On February 13, 1976: the soprano Lily Pons dies. A voice crystalline and extended towards the sharp one, joined a graceful figure and personal friendliness, they constitute the props of the formidable success of Lily Pons. An exceeded publicity helped to do of her almost a sacred monster of the singing; so much it was so in the decade of '40 went so far as to consider her to be the best singer of the world.

  • On February 12, 1924: there is released "Rhapsody In Blue" of George Gershwin. Gershwin managed to unite in this work three fundamental elements of the music of his country: the piano popular tradition, the harmonic treatment of the music of the theater of varieties and all the ambience of the African American blues.

  • On February 10, 1881: I release in Paris of "The Stories of Hoffmann" of Jacques Offenbach. The opera is an adaptation of Jules Barbier and Michel Carré of several stories of writer Ernst T.A. Hoffmann. The first one takes place with a mechanical doll, the second one with the victim of the conjuration of a magician, and the third one with a moribund sick person. The history begins with a prologue ambientado in a bar.


Appointments

  • Daniel Barenboim
    "The director does not have physical contact with the music that his instrumentalists produce and at most he can correct the phrasing or the rhythm of the score but his gesture does not exist if it does not find a band that is receiving"

  • George Gershwin
    "It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"

  • Gustav Mahler
    "When the work turns out to be a success, when a problem has been solved, we forget the difficulties and the perturbations and feel richly rewarded"

  • Franz Schubert
    "When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"

  • Bedrich Smetana
    "With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"

MULTIMEDIA

  • Glory all' Egitto, ad Iside

    Band and Choir of the Scala of Milan - Lorin Maazel

  • I prelude to the siesta of a faun

    Claude Debussy

  • This way he was speaking Zarathustra

    Richard Strauss

  • Johannes Brahms

    Biography

Interpreters

Musicians

Astor Piazzolla

Astor Piazzolla

Piazzolla represents one of the rarest cases in which an author is unrolled of extraordinary form so much in the world of the popular music, with his tangos of Buenos Aires, as in that of the refined or classic music. Called symphonic tango created a new genre renewing this way of decisive form the tango. If it is considered that the work of Piazzolla begins in 1946 with The desbande and concludes in 1990, with Him grand tango and with Five tango sensations, that the same year records with the quartet of ropes Kronos, it is deduced that it covers 46 years, space in which it produced not less than eight hundred works.

Voices

Carlos Gardel

Carlos Gardel

Carlos Gardel is perhaps the biggest myth of the Argentina. His artistic skill, his incomparable talent as singer of the suburbs of Buenos Aires, his musical instinct to compose some of the biggest tangos of all the times, his marvelous character, his fanaticism for the careers, have led him to being equalled perhaps only by another legend of the country of the south of the Silver: Eva Perón. Nevertheless, while all political activity can be worth of objections, comments and mistrust on the part of certain sectors of the population, the figure of Carlos Gardel is erected as universally for all the Argentinians and the followers of the tango across the world.



Paris, on February 16

Juan José Mosalini: the soul of the bandoneón beats in Paris

The music and the dance of the River Plate came to the margins of the Seine more than one century ago, seducing the French, but Juan José Mosalini lives through the tango now a real explosion in France, of the hand of some of his contemporary teachers, like the bandoneonista. In an interview with the AFP in Paris, before traveling to Argentina, where it will offer two concerts, and from which it will set off then in the direction of China, Mosalini evoked "passionate and unconditional" relation between Paris and the tango and between he and the bandoneón, which came to his hands when it was a chiquilín.

Granada, on February 16

International festival tango Granada dedicates his XXII edition to Carlos Gardel

75 anniversary of the death of the singer and tanguista Carlos Gardel will lead XXII edition of the International Festival of Tango of Granada, which also will organize several parallel activities between which there are holidays of trasnoche, tango in the university or an exhibition. Between the artists who will take part in three forms of the festival - dance, set of instruments and sung - there is Leo Sujatovich, Cristian Zárate and the Japanese couple of dance Kyoto and Hiros Yamao.

Letters

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