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アルバム情報

カタログ番号
8.558065-66
CD発売時期
2002年7月
資料
ジャンル
朗読
カテゴリ
音楽教育
作曲家
アントニン・ドヴォルザーク Antonín Dvořák
アーティスト
ジェレミー・シープマン Jeremy Siepmann , スロヴァキア・フィルハーモニー管弦楽団 Slovak Philharmonic Orchestra

クラシック解説 - ドヴォルザーク:交響曲第9番「新世界より」(シープマン)

Classics Explained: DVORAK - Symphony No. 9, 'From the New World' (Siepmann)

このページのURL
https://ml.naxos.jp/album/8.558065-66

全トラック選択/解除

Disc 1

アントニン・ドヴォルザーク - Antonín Dvořák (1841-1904)

**:**
イントロダクション - 交響曲第9番 ホ短調 「新世界より」 Op. 95

An Introduction to... DVORAK Symphony No. 9 'From the New World'

この作品のURL
https://ml.naxos.jp/work/34686
**:**
»  A quiet beginning: sorrow, syncopation, and sequence
1.

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»  Instrumental colour as a prime element: clarinets and bassoons, an outburst by the French horn
2.

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**:**
»  The opening tune again, with different instrumental colouring: now flutes and oboes
3.

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**:**
»  The first big surprise: strings, shattering drumbeats, shrieks from flutes, oboes, and clarinets
4.

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**:**
»  Cellos and basses take us into a new key while flutes and oboes dance in syncopation.
5.

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**:**
»  Horns, violas, and cellos introduce a new idea, soon to evolve into the main theme.
6.

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**:**
»  A tiny detail from the opening culminates in a wild drumming that heralds A Major event
7.

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**:**
»  Introduction complete
8.

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**:**
»  A solo horn introduces the main theme, perkily answered by bassoons and horns.
9.

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**:**
»  The theme moves to G Major; answering phrase from flutes, oboes, bassoons.
10.

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**:**
»  Long crescendo, tremolo strings, back to tonic and biggest statement yet of the main theme.
11.

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**:**
»  Transition to the secondary theme through the use of sequence. Sonata form; satability and flux
12.

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**:**
»  Three-bar groupings and again the use of sequence, spelling out a chord
13.

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**:**
»  The sequence continues to rise, and the four-bar phrase returns as the standard unit.
14.

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**:**
»  The first violins start off the next phrase, but the melodic shape is more compact.
15.

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»  The violins fall silent; the violas and cellos answer with a new figure
16.

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**:**
»  So now we have a two-bar group, made up of statement and answer.
17.

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»  The same thing again (though not quite the same)
18.

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»  Transition complete. The secondary theme arrives, with French horns as 'bagpipes'.
19.

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»  The 'bagpipe drone' is taken over by cellos, with their insistently repeated G and D.
20.

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»  The tune is taken up by cellos and double-basses, 'shadowed' by the second violins.
21.

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**:**
»  The violins continue a pattern of steady pairs, and the cellos and basses introduce a new idea.
22.

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**:**
»  Unexpectedly, we find ourselves back with the secondary theme. A new idea emerges.
23.

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**:**
»  Again we hear the shortened version of the secondary theme
24.

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**:**
»  The suspense is heightened as everything slows down
25.

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**:**
»  This beautiful flute tune is said to resemble 'Swing Low, Sweet Chariot'.
26.

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**:**
»  A big crescendo leads to a final statement of the closing theme
27.

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**:**
»  The development section begins with a conversation between cellos, double-bases, and violins.
28.

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**:**
»  The beginning of the closing theme is taken up in turn by the horn, piccolo, and trumpet.
29.

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**:**
»  Sequential chirping from the oboes based on the 'answering' part of the main theme, now in thE Major
30.

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»  Much of the development comes from a diminution of the closing theme from the exposition.
31.

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»  A tiny detail becomes A Major ingredient, giving an agitated quality to an originally sunny tune.
32.

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»  Through a sequence of keys so quickly that it is hard to keep track of them
33.

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»  The main theme from massed cellos and double-basses, topped by two trumpets over tremolo violas
34.

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»  After that major climax, we arrive at the threshold of the recapitulation
35.

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**:**
»  Dvorak flouts tradition by setting the secondary theme and the closing theme in unexpected keys.
36.

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»  The tumultuous convulsion of the coda brings the first movement to its epic close.
37.

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»  Humpty Dumpty: putting the bits back together again
38.

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»  First movement (complete)
39.

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**:**
»  The very opening chords unmistakably herald the arrival of something special.
40.

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»  The role of instrumentation in setting the scene...
41.

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»  ...and in enhancing the quality of one of the most famous tunes in symphonic history.
42.

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»  The cor anglais is joined by the clarinet, creating a fascinating change in the timbre.
43.

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»  For the closing part of the tune, there is another new sonority: cor anglais plus bassoon.
44.

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»  The closing bar is repeated by clarinets and bassoons, the horn adding a new touch
45.

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**:**
»  Back to the start to hear the whole of the story so far, this time without commentary
46.

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**:**
»  A change of scoring: the slow opening chords return, this time played by the winds alone.
47.

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**:**
»  The changes in scoring are just beginning.
48.

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**:**
»  The flutes and oboes introduce a new tune, over hushed tremolo strings.
49.

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**:**
»  A memorable combination of continuous, asymmetrical melody with steady, march-like counterpoint.
50.

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**:**
»  Back in that woodland glade, the light and shadows have changed, revealing new shapes and patterns.
51.

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**:**
»  The next section is new and forward-looking, yet also a kind of dream-recollection of a past scene.
52.

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»  An abrupt change of mood, much discussion and embellishment, and a hushed note of expectancy
53.

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»  Subjectivity and expertise; Sourek and Tovey disagree; onwards, into the final section
54.

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»  Cue to whole movement
55.

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**:**
»  Second movement (complete)
56.

-

Disc 2

アントニン・ドヴォルザーク - Antonín Dvořák (1841-1904)

**:**
イントロダクション - 交響曲第9番 ホ短調 「新世界より」 Op. 95

An Introduction to... DVORAK Symphony No. 9 'From the New World'

この作品のURL
https://ml.naxos.jp/work/34686
**:**
»  Dvorak, Beethoven, and the Scherzo. Dvorak purposely confuses the listener's expectations.
1.

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**:**
»  Using a little fanfare, Dvorak further builds up expectation before revealing the main theme.
2.

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**:**
»  When the theme is revealed, we find that it is not exactly a tune.
3.

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**:**
»  Two little bursts of rhythm provide the seeds from which much of the movement grows.
4.

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**:**
»  It is the second half of the theme that dominates.
5.

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»  Back to the beginning to hear the whole of this opening section
6.

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»  Without ever being remotely 'academic' or 'intellectual', there is much counterpoint going on here.
7.

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»  Dvorak's very Czech love of combining conflicting rhythms, sometimes metres
8.

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**:**
»  A clearly transitional passage, obsessed with the rhythmic tag that both opens and closes the theme
9.

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»  Sooner than we may have expected, we seem to have arrived at the Trio section.
10.

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**:**
»  A new kind of tone quality sheds a subtly different light on the theme.
11.

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**:**
»  The flutes and oboes now chime in with an answering variant of the opening...
12.

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**:**
»  ...and the cellos and bassoons take up the original version of the theme.
13.

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**:**
»  A false alarm: it was not the traditional Trio section at all, but rather part 2 of Scherzo proper
14.

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**:**
»  Soon, after a very rapid build, the Scherzo proper does reach its final phase.
15.

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**:**
»  The orchestral texture thins dramatically, and we approach what this time really is the Trio section.
16.

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**:**
»  The Trio section is reminiscent more of the 'Old World' than the 'New'.
17.

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**:**
»  In the second half of the Trio, a new tune emerges, a kind of Slavonic waltz.
18.

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**:**
»  The main theme of the Trio returns against a much fuller orchestral background.
19.

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**:**
»  Then it is all a matter of repeats, until we reach the coda, which ends with an explosive bang.
20.

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**:**
»  Third movement (complete)
21.

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**:**
»  Like the first movement, the fourth begins not with its main theme but with an introduction.
22.

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**:**
»  The main theme: an imposing march, introduced by trumpets and trombones, with timpani
23.

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**:**
»  The main theme, part two. A codetta-like passage closes off the march
24.

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**:**
»  The 'transitional' theme, while outwardly contrasting, is actually a hidden variant of the march.
25.

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**:**
»  A point of future obsession
26.

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**:**
»  The second half of this 'transitional' theme is given to the winds the strings have finished.
27.

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**:**
»  The 'obsession' takes root, with a ten-fold repetition, before the arrival of the second subject.
28.

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»  The hidden traps in sonata-form terminology: 'second main theme' vx. 'second subject'
29.

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**:**
»  The unexpected entry and subsequent ubiquity of 'Three Blind Mice'
30.

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**:**
»  We meet the mice again, now in the cellos and double-basses, where they persistently refuse to run.
31.

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**:**
»  More 'Three Blind Mice' material
32.

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**:**
»  The mice return to the basement, where the bassoons have joined the cellos and double-basses.
33.

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**:**
»  Next, they are back with the clarinets who pass them back to the cellos
34.

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**:**
»  Now they return to the high winds, delicately trilling.
35.

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**:**
»  Relief, at last: the mice back off, making way for a remainder of the main theme from the trumpets.
36.

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**:**
»  The mice yield to woodpeckers; the main theme is now doubled in speed
37.

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**:**
»  The triplets of the 'transitional' theme are now handed down through strings
38.

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**:**
»  Reminders of past movements begin to fly by, thick and fast, sometimes very fast.
39.

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»  In fact there are three bits of quotation going on here simultaneously.
40.

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»  The violas react every time the 'Goin' Home' theme is quoted by the winds.
41.

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**:**
»  The rhythm of the opening of the 'Goin' Home' theme dominates, transformed by trumpets
42.

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**:**
»  The march theme reappears as a Mendelssohnian fairy; the main theme from the 1st mov. now returns.
43.

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**:**
»  We reach an interesting point: have we heard the beginning of the recapitulation, or not?
44.

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**:**
»  Perhaps this is it? Back for a reminder of the theme proper, as we first heard it
45.

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**:**
»  Tovey places the start of the recapitulation here.
46.

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**:**
»  The main theme recast in pathetic rather than heroic terms - and with magical scoring
47.

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**:**
»  This unexpected crisis in confidence plays A Major role in the overall dramatic impact of the mov.
48.

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**:**
»  The main theme returns - not complete, but chopped up into shorter and shorter fragments.
49.

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**:**
»  A glorious thematic stew; high drama, a powerful build-up... but then?
50.

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**:**
»  The dramatic highpoint of the mov., an astonishing transformation, but first, back to the original
51.

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**:**
»  The same chords again, this time blasted out by the entire wind and brass sections
52.

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**:**
»  Now we are into the finishing stretch, but the surprises continue to the very end of the very end.
53.

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**:**
»  Summary, context, and cue into the whole movement
54.

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**:**
»  Fourth movement (complete)
55.

-

 

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