Classics Explained: Dvorak - Symphony No. 9, 'From The New World' (Siepmann)专辑歌曲mp3免费下载-梨梨音乐-无损音乐免费下载网站

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Fourth movement (complete)

Jeremy Siepmann&Slovak Philharmonic Orchestra

Summary, context, and cue into the whole movement

Jeremy Siepmann&Slovak Philharmonic Orchestra

Now we are into the finishing stretch, but the surprises continue to the very end of the very end.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The same chords again, this time blasted out by the entire wind and brass sections

Jeremy Siepmann&Slovak Philharmonic Orchestra

The dramatic highpoint of the mov., an astonishing transformation, but first, back to the original

Jeremy Siepmann&Slovak Philharmonic Orchestra

A glorious thematic stew; high drama, a powerful build-up... but then?

Jeremy Siepmann&Slovak Philharmonic Orchestra

The main theme returns - not complete, but chopped up into shorter and shorter fragments.

Jeremy Siepmann&Slovak Philharmonic Orchestra

This unexpected crisis in confidence plays A Major role in the overall dramatic impact of the mov.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The main theme recast in pathetic rather than heroic terms - and with magical scoring

Jeremy Siepmann&Slovak Philharmonic Orchestra

Tovey places the start of the recapitulation here.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Perhaps this is it? Back for a reminder of the theme proper, as we first heard it

Jeremy Siepmann&Slovak Philharmonic Orchestra

We reach an interesting point: have we heard the beginning of the recapitulation, or not?

Jeremy Siepmann&Slovak Philharmonic Orchestra

The march theme reappears as a Mendelssohnian fairy; the main theme from the 1st mov. now returns.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The rhythm of the opening of the 'Goin' Home' theme dominates, transformed by trumpets

Jeremy Siepmann&Slovak Philharmonic Orchestra

The violas react every time the 'Goin' Home' theme is quoted by the winds.

Jeremy Siepmann&Slovak Philharmonic Orchestra

In fact there are three bits of quotation going on here simultaneously.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Reminders of past movements begin to fly by, thick and fast, sometimes very fast.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The triplets of the 'transitional' theme are now handed down through strings

Jeremy Siepmann&Slovak Philharmonic Orchestra

The mice yield to woodpeckers; the main theme is now doubled in speed

Jeremy Siepmann&Slovak Philharmonic Orchestra

Relief, at last: the mice back off, making way for a remainder of the main theme from the trumpets.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Now they return to the high winds, delicately trilling.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Next, they are back with the clarinets who pass them back to the cellos

Jeremy Siepmann&Slovak Philharmonic Orchestra

The mice return to the basement, where the bassoons have joined the cellos and double-basses.

Jeremy Siepmann&Slovak Philharmonic Orchestra

More 'Three Blind Mice' material

Jeremy Siepmann&Slovak Philharmonic Orchestra

We meet the mice again, now in the cellos and double-basses, where they persistently refuse to run.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The unexpected entry and subsequent ubiquity of 'Three Blind Mice'

Jeremy Siepmann&Slovak Philharmonic Orchestra

The hidden traps in sonata-form terminology: 'second main theme' vx. 'second subject'

Jeremy Siepmann&Slovak Philharmonic Orchestra

The 'obsession' takes root, with a ten-fold repetition, before the arrival of the second subject.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The second half of this 'transitional' theme is given to the winds the strings have finished.

Jeremy Siepmann&Slovak Philharmonic Orchestra

A point of future obsession

Jeremy Siepmann&Slovak Philharmonic Orchestra

The 'transitional' theme, while outwardly contrasting, is actually a hidden variant of the march.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The main theme, part two. A codetta-like passage closes off the march

Jeremy Siepmann&Slovak Philharmonic Orchestra

The main theme: an imposing march, introduced by trumpets and trombones, with timpani

Jeremy Siepmann&Slovak Philharmonic Orchestra

Like the first movement, the fourth begins not with its main theme but with an introduction.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Third movement (complete)

Jeremy Siepmann&Slovak Philharmonic Orchestra

Then it is all a matter of repeats, until we reach the coda, which ends with an explosive bang.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The main theme of the Trio returns against a much fuller orchestral background.

Jeremy Siepmann&Slovak Philharmonic Orchestra

In the second half of the Trio, a new tune emerges, a kind of Slavonic waltz.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The Trio section is reminiscent more of the 'Old World' than the 'New'.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The orchestral texture thins dramatically, and we approach what this time really is the Trio section.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Soon, after a very rapid build, the Scherzo proper does reach its final phase.

Jeremy Siepmann&Slovak Philharmonic Orchestra

A false alarm: it was not the traditional Trio section at all, but rather part 2 of Scherzo proper

Jeremy Siepmann&Slovak Philharmonic Orchestra

...and the cellos and bassoons take up the original version of the theme.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The flutes and oboes now chime in with an answering variant of the opening...

Jeremy Siepmann&Slovak Philharmonic Orchestra

A new kind of tone quality sheds a subtly different light on the theme.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Sooner than we may have expected, we seem to have arrived at the Trio section.

Jeremy Siepmann&Slovak Philharmonic Orchestra

A clearly transitional passage, obsessed with the rhythmic tag that both opens and closes the theme

Jeremy Siepmann&Slovak Philharmonic Orchestra

Dvorak's very Czech love of combining conflicting rhythms, sometimes metres

Jeremy Siepmann&Slovak Philharmonic Orchestra

Without ever being remotely 'academic' or 'intellectual', there is much counterpoint going on here.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Back to the beginning to hear the whole of this opening section

Jeremy Siepmann&Slovak Philharmonic Orchestra

It is the second half of the theme that dominates.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Two little bursts of rhythm provide the seeds from which much of the movement grows.

Jeremy Siepmann&Slovak Philharmonic Orchestra

When the theme is revealed, we find that it is not exactly a tune.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Using a little fanfare, Dvorak further builds up expectation before revealing the main theme.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Dvorak, Beethoven, and the Scherzo. Dvorak purposely confuses the listener's expectations.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Second movement (complete)

Jeremy Siepmann&Slovak Philharmonic Orchestra

Cue to whole movement

Jeremy Siepmann&Slovak Philharmonic Orchestra

Subjectivity and expertise; Sourek and Tovey disagree; onwards, into the final section

Jeremy Siepmann&Slovak Philharmonic Orchestra

An abrupt change of mood, much discussion and embellishment, and a hushed note of expectancy

Jeremy Siepmann&Slovak Philharmonic Orchestra

The next section is new and forward-looking, yet also a kind of dream-recollection of a past scene.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Back in that woodland glade, the light and shadows have changed, revealing new shapes and patterns.

Jeremy Siepmann&Slovak Philharmonic Orchestra

A memorable combination of continuous, asymmetrical melody with steady, march-like counterpoint.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The flutes and oboes introduce a new tune, over hushed tremolo strings.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The changes in scoring are just beginning.

Jeremy Siepmann&Slovak Philharmonic Orchestra

A change of scoring: the slow opening chords return, this time played by the winds alone.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Back to the start to hear the whole of the story so far, this time without commentary

Jeremy Siepmann&Slovak Philharmonic Orchestra

The closing bar is repeated by clarinets and bassoons, the horn adding a new touch

Jeremy Siepmann&Slovak Philharmonic Orchestra

For the closing part of the tune, there is another new sonority: cor anglais plus bassoon.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The cor anglais is joined by the clarinet, creating a fascinating change in the timbre.

Jeremy Siepmann&Slovak Philharmonic Orchestra

...and in enhancing the quality of one of the most famous tunes in symphonic history.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The role of instrumentation in setting the scene...

Jeremy Siepmann&Slovak Philharmonic Orchestra

The very opening chords unmistakably herald the arrival of something special.

Jeremy Siepmann&Slovak Philharmonic Orchestra

First movement (complete)

Jeremy Siepmann&Slovak Philharmonic Orchestra

Humpty Dumpty: putting the bits back together again

Jeremy Siepmann&Slovak Philharmonic Orchestra

The tumultuous convulsion of the coda brings the first movement to its epic close.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Dvorak flouts tradition by setting the secondary theme and the closing theme in unexpected keys.

Jeremy Siepmann&Slovak Philharmonic Orchestra

After that major climax, we arrive at the threshold of the recapitulation

Jeremy Siepmann&Slovak Philharmonic Orchestra

The main theme from massed cellos and double-basses, topped by two trumpets over tremolo violas

Jeremy Siepmann&Slovak Philharmonic Orchestra

Through a sequence of keys so quickly that it is hard to keep track of them

Jeremy Siepmann&Slovak Philharmonic Orchestra

A tiny detail becomes A Major ingredient, giving an agitated quality to an originally sunny tune.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Much of the development comes from a diminution of the closing theme from the exposition.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Sequential chirping from the oboes based on the 'answering' part of the main theme, now in thE Major

Jeremy Siepmann&Slovak Philharmonic Orchestra

The beginning of the closing theme is taken up in turn by the horn, piccolo, and trumpet.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The development section begins with a conversation between cellos, double-bases, and violins.

Jeremy Siepmann&Slovak Philharmonic Orchestra

A big crescendo leads to a final statement of the closing theme

Jeremy Siepmann&Slovak Philharmonic Orchestra

This beautiful flute tune is said to resemble 'Swing Low, Sweet Chariot'.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The suspense is heightened as everything slows down

Jeremy Siepmann&Slovak Philharmonic Orchestra

Again we hear the shortened version of the secondary theme

Jeremy Siepmann&Slovak Philharmonic Orchestra

Unexpectedly, we find ourselves back with the secondary theme. A new idea emerges.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The violins continue a pattern of steady pairs, and the cellos and basses introduce a new idea.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The tune is taken up by cellos and double-basses, 'shadowed' by the second violins.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The 'bagpipe drone' is taken over by cellos, with their insistently repeated G and D.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Transition complete. The secondary theme arrives, with French horns as 'bagpipes'.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The same thing again (though not quite the same)

Jeremy Siepmann&Slovak Philharmonic Orchestra

So now we have a two-bar group, made up of statement and answer.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The violins fall silent; the violas and cellos answer with a new figure

Jeremy Siepmann&Slovak Philharmonic Orchestra

The first violins start off the next phrase, but the melodic shape is more compact.

Jeremy Siepmann&Slovak Philharmonic Orchestra

The sequence continues to rise, and the four-bar phrase returns as the standard unit.

Jeremy Siepmann&Slovak Philharmonic Orchestra

Three-bar groupings and again the use of sequence, spelling out a chord

Jeremy Siepmann&Slovak Philharmonic Orchestra