GRZEGORZ NOWAK CONDUCTS DVO RÁK Symphonies no 6 - 9 Carnival Overture 3 CDs

ˇ composer complied in 1878 with a set Symphony No.6 in D major, Op.60 the Vienna cancellation must have galled ANTONÍN DVORÁK of eight pieces for piano duet. These did the composer, was a resounding success. I. Allegro non tanto The work was published in Berlin in 1882 as (1841-1904) much to enhance his reputation abroad, II. Adagio and in 1884 he was invited to conduct ‘Symphony No.1’, ignoring the fact it actually III. Scherzo: Furiant-Presto had five symphonic predecessors, and leading his Stabat Mater in London, where his Antonín Dvorˇák was born in what was IV. Finale: Allegro con spirito to a situation where the celebrated work we music became immensely popular. In then known as Bohemia, in the small In the mid-1870s Dvorˇák, then in his now know as the Ninth appeared in print village of Mühlhausen, near Prague. 1891 he was made an honorary Doctor mid-thirties, was still struggling to gain as the Fifth. He was apprenticed as a butcher in of Music by Cambridge University and recognition and renown outside his native Dvorˇák’s earlier symphonies were strongly the following year made the first of his country. In 1874 he was awarded the first his father’s shop, encountering strong influenced by those of Beethoven. Indeed, visits to America, a country that would of several Austrian State Stipendium grants, paternal opposition to his intended his First Symphony, which was composed through which he made the acquaintance career as a musician. He was a chorister have a profound effect on some of his in 1865 although not performed until 1936, of Johannes Brahms, who became both in the village church, and learned the later music. Dvorˇák is often criticised for adopted both the key and the tonal scheme a close friend and a supporter. It was basics of violin playing from a local sounding like Brahms and, in his earlier of Beethoven’s Fifth. There are discernible through Brahms that Dvorˇák came to the work, Wagner, although the strong Czech Beethovenian echoes, too, in the opening schoolmaster. At the age of sixteen he attention of the publisher Simrock, who in movement of Dvorˇák’s Sixth which, for left home and enrolled at the Prague elements in his music, when he chose to 1878 commissioned the Slavonic Dances all its superb handling of the sonata-form Organ School, at the same time earning a incorporate them, helped him to create a that quickly rocketed the composer to structure and felicities of orchestration, living as a violinist in a small orchestra, highly individual style. international fame. occasionally comes close to phrases from and between 1861 and 1871 played the He composed nine symphonies (the In 1879 the conductor Hans Richter, Beethoven’s Third, Eighth and Ninth viola in the orchestra of the National last of which is the popular ‘From The having successfully performed Dvorˇák’s Symphonies. This may, of course, have been Theatre in Prague. With his meagre but New World’), no less than ten operas Third Slavonic Rhapsody, commissioned a deliberate attempt to ingratiate himself effective musical training he began to (including the popular Rusalka), concert a symphony for the Vienna Philharmonic with the Viennese musicians, or was simply compose, only receiving recognition in overtures, the Slavonic Dances, concertos Orchestra. Dvorˇák completed this, his Sixth evidence that, like Brahms in his own First 1873 when his choral-orchestral Hymnus for violin, piano and cello, and a great Symphony, the following year, but for some Symphony, he was not afraid to declare reason Richter, although pleased with the his influences. It is perhaps the spirit of was performed. For many years Dvorˇák deal of chamber and piano music. In Mendelssohn that hovers lightly over the was able to support himself by winning result, began to prevaricate. There was at addition to writing music, Dvorˇák was a that time a marked anti-Czech feeling in main theme of the luscious second movement several government grants. Following the popular teacher and his hobbies included Vienna, and there appears to have been some Adagio, but there can be no mistaking the success of Brahms’ Hungarian Dances, playing skittles, keeping pigeons and reluctance among members of the Orchestra Bohemian origins of the ensuing Scherzo, Dvorˇák was persuaded by the publisher train-spotting. to schedule yet another new work by Dvorˇák. a scintillating celebration of the folk-dance Simrock to compose a set of Slavonic In the event, the Symphony received its known as the furiant. Imitation being the Dances in a similar mould, and the première in Prague in 1881 and, much as sincerest form of flattery, the Symphony’s Finale is unmistakeably reminiscent of opening Allegro, which apparently Symphony No.8 in G major, Op.88 which also characterises the contrasting Brahms’ own D major Symphony, although came into his head during one of his second theme played by the woodwind the forward momentum and sheer joie train-spotting sessions, is a dark and I. Allegro con brio against the descending scale of the strings. de vivre of the music as it builds to its sinuous melody sounded against an II. Adagio (The descending scale may have been exhilarating close is pure Dvorˇák. ominous drum-roll. The second theme, III. Allegretto grazioso suggested by the sound of a cimbalom in a by contrast, is a lightly-scored and quite IV. Allegro, ma non troppo village band.) As this movement progresses Brahmsian woodwind tune; it is the conflict Dvorˇák composed his Symphony No.8 in a curious little woodwind phrase begins to between these two ideas that generates the 1889, carrying out most of the sketches at dominate the texture. This striking figure Symphony No.7 in D minor, Op.70 powerful symphonic drama that unfolds. his country house in Vysoka. The score is uses the same ascending four-note idea, and Dvorˇák described the expressive Adagio inscribed ‘For being admitted to membership its bright, bird-song innocence is in complete I. Allegro maestoso as being ‘from the sad years’, in reference of the Emperor Franz Josef’s Czech Academy contrast to the darker tones of the opening II. Poco adagio to the recent death of his mother, the of Science, Literature and the Arts’, and the string melody. III. Scherzo vivace. Poco meno mosso note of personal tragedy discernible in composer conducted the first performance After the slightly troubled atmosphere of IV. Finale: Allegro the passionate outcry that disrupts the in Prague in 1890. The Symphony is a the slow movement, the third movement is movement’s opening calm. The ensuing Where Vienna had been reluctant to include highly experimental work, particularly an exquisite waltz, whose ravishing melody Scherzo is coloured by the infectious Dvorˇák’s music in its programmes, London in the structure of its opening movement. is heard against a background of gurgling rhythms of the Czech furiant, although this proved far more receptive. 1883 marked The composer had declared his intention to woodwind figures. The middle section presents relaxed, melodic music is worlds away from the first of a series of highly successful write a score that was ‘different from the a more angular theme from the woodwind, the frantic bravura of the corresponding visits to England and the composer was other symphonies, with individual thoughts which returns at the end of a movement in a movement in the Sixth Symphony. delighted to receive honorary membership worked out in new ways’, and the Symphony new rhythmic guise. The closing movement is The tragic note returns to haunt the Finale, of the Philharmonic Society, who also proclaims its originality in the opening a set of orchestral variations, an uncommon whose opening theme, with its characteristic commissioned a new symphony from him. bars, as the cellos play a beautiful theme in device also adopted by Beethoven (Symphony dissonant fourths and sevenths, dominates Dvorˇák began work on the Seventh in the ‘wrong’ key of G minor. It is not until No.9) and Brahms (Symphony No.4). A the movement. Once again, however, a December 1884 which he hoped would be a bright halo of G major from the strings harsh trumpet fanfare hints at the luscious brighter major-key theme offers contrast ‘capable of stirring the world’, completing introduces a perky little flute theme that Brahmsian tune, which is then announced and hope and the Symphony reaches its it in March the following year and the exposition proper may be said to begin, in its entirety by the cellos. The variations triumphant conclusion in a jubilant D major. conducting the première at St. James’s Hall the G minor theme returning to herald the that follow range from wild Slavonic dances nd on 22 April. development section and, in a brash trumpet to reflective string studies, including a long version, the recapitulation. If the Sixth Symphony was modelled section in which a raucous village band seems partly on Brahms’ Second, the Seventh Exposition and development are also the to have crept into the orchestra. takes inspiration from the dark passions basis for the underlying structure of the of Brahms’ recently performed Third second movement (Adagio). The first string Symphony. The main first theme of the theme starts with a rising four-note scale, Symphony No.9 in E minor, musicologists by subsequently declaring that and deservedly popular theme given to the alone, all three are united by a common Op.95, ‘From the New World’ all of his music was inspired by Bohemia, cor anglais. This tune so perfectly captures melodic theme, which is prominent in although the melodies and rhythms of the the flavour of American music that it is often the first overture, quoted in the second, I. Adagio - Allegro molto New World are clearly discernible at various described as an original American folk tune, and distorted in the third. The composer II. Largo points in the score. Further evidence of this despite the composer’s assertion that he had seems to have been in some doubt about III. Scherzo: Molto vivace comes in a newspaper article published in not quoted any folk material in the Symphony. their actual significance, however, since IV. Allegro con fuoco 1893 in which Dvorˇák himself makes a strong he considered calling the first overture The third movement is a lively Scherzo whose connection between the Symphony and one of Summer Night, or possibly In Solitude, On one of his hugely successful visits to opening bars are perhaps a little reminiscent the great epics of Americana: before settling on its final title of In Nature’s America, Dvorˇák published a fascinating of the corresponding movement in Beethoven’s Realm. Similarly, although we now know article on the importance of folk music ‘[The slow movement] is in reality a study Ninth Symphony, but whose rhythmic verve the third overture as Otello, Dvorˇák thought for contemporary composers. He felt that or sketch for a longer work, either a cantata and orchestral colourings are very much about calling it Tragic or Eroica, even American musicians were neglecting a or opera which I purpose [sic] writing, and D v o rˇ á k ’s own. The rhythm of the main after he had composed it. There is perhaps valuable source of exciting and beautiful which will be based upon Longfellow’s Scherzo is cleverly transformed into a gentle more certainty in the life-affirming central musical material, and urged them to examine ‘Hiawatha’. I have long had the idea of string accompaniment in the first trio section, overture, however, since that became the the music of the black communities and someday utilizing that poem. I first became and the sharp-eared listener will notice a riotous and energetic Carnival, by far the of the Native Americans. As in his earlier acquainted with it about thirty years brief brass quotation from the Symphony’s most popular part of the trilogy. With its music he had frequently explored the exciting ago through the medium of a Bohemian opening, made more explicit towards the end obsessive rhythms and bright, brilliant rhythms and melodies of his native Bohemia, translation. It appealed very strongly to my of the movement. The Finale, marked Allegro orchestration the music captures all the so he went on to write several works imagination at the time, and the impression con fuoco, develops as a series of contrasts bustle and boisterous fun of the carnival incorporating elements of American folk has only been strengthened by my residence between a violent march-theme and gentler proceedings, with contrast being provided music, among them his last and most popular here. The scherzo of the Symphony was lyrical passages, involving explicit quotation by the strange, lovely music of the middle symphony, the Ninth, nicknamed ‘From the suggested by the scene at the feast in and interweaving of thematic material from section. For these calmer pages of the score New World. ‘Hiawatha’ where the Indians dance, and is each of the Symphony’s movements. the composer introduces the harp, which up also an essay which I made in the direction of Dvorˇák had gone to America in 1892 at to now has been silent, and makes effective imparting the local color of Indian character the invitation of Mrs Jeanette Thurber, use of the special colours of the cor anglais. to music.’ a wealthy music lover who had decided The peace does not last for long, however to open a national music school in New The first movement of the Symphony opens Carnival Overture, Op.92 – before long the tambourine has crept York, where he was appointed Director of quietly but soon erupts into a lively Allegro, In 1891 Dvorˇák was made an honorary in, almost unnoticed, and the carnival is the new Conservatory. He completed the and there is perhaps a hint of the Negro Doctor of Music by Cambridge University, under way again in one of the composer’s new symphony in May 1893 and it was spiritual ‘Swing low, sweet chariot’ in the and in the same year began work on a characteristically thrilling finales. first performed (and rapturously received) quiet flute theme that follows. The second trilogy of overtures conceived under the in December of that year. The composer movement is an exquisite Largo whose hushed general heading of ‘Nature, Life and Love’. confused succeeding generations of opening serves as a prelude to the beautiful Although each of the overtures can stand

fellowship at the renowned Eastman School acclaim for his performances in the Far 2006 Maifestspiele Festival in Wiesbaden of Music, where he studied with David Effron East and elsewhere with the Philharmonic for conducting Giordano’s Andrea Chénier, and David Zinman. He honed his skills and Yomiuri orchestras in Tokyo, the Hong directed and staged by Mariusz Trelinski at Tanglewood on a Serge Koussevitzky Kong Philharmonic Orchestra, the Taipei for a co-production of the Warsaw National Fellowship with such masters as Leonard Philharmonic Orchestra in Taiwan, and the Opera with Plácido Domingo and the Bernstein, Seiji Ozawa, Erich Leinsdorf and Jerusalem and Haifa Symphony orchestras. National Opera in Washington. Igor Markevitch, before assisting Kurt Masur Grzegorz Nowak has held the position Grzegorz Nowak has performed alongside with the New York Philharmonic Orchestra. of Music Director for orchestras and many of the most widely respected soloists Since then, he has conducted the world’s opera companies in the USA, Switzerland, of our time, including Krystian Zimerman, finest orchestras. In Europe, Grzegorz Nowak Canada, Poland and Germany, including Mstislav Rostropovich, Martha Argerich, GRZEGORZ NOWAK has worked with such prestigious ensembles the Edmonton Symphony Orchestra, Henryk Szeryng, Anne-Sophie Mutter, Conductor as the Royal Philharmonic Orchestra, Polish National Opera in Warsaw, SWR Vladimir Ashkenazy, Pinchas Zukerman, London Symphony Orchestra, Monte-Carlo Radio Orchestra in Germany, and Sinfonia Nigel Kennedy, Midori, Garrick Ohlsson, Grzegorz Nowak is the Principal Associate Philharmonic Orchestra, Orchestre National Helvetica and the Musique & Amitié Festival André Watts, Gil Shaham, Yefim Bronfman Conductor of the Royal Philharmonic de France, Orchestra dell’Accademia Nazionale in Switzerland. and Shlomo Mintz, and has worked with Orchestra. He began his international di Santa Cecilia in Rome, RAI orchestras such singers as Marilyn Horne, Kathleen He has conducted operatic productions in conducting career by winning First Prize in Milan, Rome and Turin, Orchestre de Battle, Gwyneth Jones, Anja Silja, Janet Italy, Monte-Carlo, Switzerland, Germany, at the Ernest Ansermet Conducting la Suisse Romande in Geneva, Tonhalle Baker, Wilhelmenia Fernandez, Ewa Podles, Poland, the UK, Sweden, the USA and Competition in Geneva. He also won the Orchestra in Zürich, Berliner Symphoniker, Malgorzata Walewska, Wieslaw Ochman Canada, including works by Mozart (The Grand Prix Patek Philippe, Rolex Prize, Belgian National Orchestra, Luxembourg and Ben Heppner. Marriage of Figaro, Don Giovanni, Il Swiss Prize, American Patronage Prize Philharmonic Orchestra, Warsaw National Seraglio, Così fan Tutte, The Magic Flute), His recordings have been highly acclaimed and the Europäische Förderpreis für Musik Philharmonic Orchestra, National Orchestra Rossini (The Barber of Seville, Semiramide), by the press and public alike, winning many as the European Musician of the Year. of Spain and the Gulbenkian Orchestra Beethoven (Fidelio), Bizet (Carmen), Borodin awards. Diapason in Paris praised his KOS He is Artist-in-Residence at the Florida in Lisbon. He has also conducted many (Prince Igor), Moniuszko (Haunted Manor), CD with Martha Argerich and Sinfonia International University in Miami, was times in Scandinavia, performing with the Mussorgsky (Boris Godunov), Verdi (Otello, Varsovia as ‘indispensable … a must-have’, honoured with the Distinguished Teacher Philharmonic and Radio orchestras of Oslo, Don Carlos and the Polish première of and the second edition of this recording won Award during his tenure as Professor at the Stockholm, Helsinki and Copenhagen. Simon Boccanegra) and Puccini (Madama the Fryderyk Award. His Polish Symphonic BGSU University in Ohio, and had the title Grzegorz Nowak has conducted many of Butterfly, La Bohème, Turandot, Tosca Music of the Nineteenth Century recording of Honorary Professor bestowed upon him the leading orchestras in North America, – including a tour with Welsh National with Sinfonia Varsovia won the CD of the by the University of Alberta. including the Buffalo Philharmonic Orchestra Opera). His production of Debussy’s Le Year Award, a nomination for the Fryderyk After studying conducting, composition and the Montréal, Vancouver, Baltimore, Martyre de Saint Sébastien was broadcast Award and the Bronze Bell Award in and violin at the Music Academy in Poznan, Cincinnati and San Diego Symphony live from Rome on the Eurovision television Singapore. The American Record Guide Grzegorz Nowak was awarded a doctorate orchestras. He has also earned critical network. He received rave reviews at the praised Grzegorz Nowak’s Gallo label CD of music by Frank Martin with Piotr Royal Philharmonic Milewski and the Biel Symphony Orchestra Orchestra as ‘by far the best’. Artistic Director and Principal Grzegorz Nowak’s recording of Chopin’s Conductor: Charles Dutoit piano concertos with Janusz Olejniczak and Acknowledged as one of the UK’s Sinfonia Varsovia won the Fryderyk and most prodigious orchestras, the CD of the Year awards, and his CD with Royal Philharmonic Orchestra (RPO) Stanislaw Drzewiecki and Sinfonia Varsovia enjoys an international reputation for was also nominated for the Fryderyk Award. bringing audiences worldwide first-class His Hänssler Classic disc with Anja Silja performances and the highest possible won two Classical Internet Awards and was standards of music-making across a diverse praised as ‘the finest recording of the Seven range of musical repertoire. This was the Deadly Sins currently available’, and his vision of the Orchestra’s flamboyant founder recording of Czerny’s Symphonies Nos.2 and Photographer: Robert Taylor Sir Thomas Beecham, whose legacy is 6 (world première recording) received critical maintained today as the Orchestra thrives acclaim around the world. His CBC record under the exceptional direction of its new Within the UK, the Orchestra is committed comprehensive workshops where music is with the Edmonton Symphony Orchestra Artistic Director and Principal Conductor, to offering an extensive regional touring used as a powerful and inspirational force. and Amanda Forsyth won the Juno Award, Maestro Charles Dutoit. programme, including established his CD-Accord disc with Joanna Kozlowska Frequently found in the recording studio, residencies in Croydon, Northampton, and the Poznan Philharmonic Orchestra The Royal Philharmonic Orchestra is the Orchestra records extensively for Lowestoft, Reading and Crawley. As an was hailed as ‘superb’ and Gramophone London-based and performs a prestigious film and television as well as for all the international orchestra, the RPO has Magazine praised his ASV recording series of concerts each year at Southbank major commercial record companies. The toured more than thirty countries in the with the London Symphony Orchestra as Centre’s Royal Festival Hall, featuring Orchestra also owns its own record label last five years. Recent tours have included ‘outstanding’. With the Royal Philharmonic artists of the highest calibre. The and is proud to be the first UK orchestra to performances in the USA, Azerbaijan, Orchestra, he has recorded works by Orchestra’s London home is at Cadogan stream its entire series of concerts live from Turkey, China and as resident orchestra of Mendelssohn and Beethoven, all four Hall, just off Sloane Square, where concert- Cadogan Hall. the Montreux Festival. Schumann symphonies as well as Dvorák’s goers enjoy an intimate atmosphere in an www.rpo.co.uk symphonies Nos. 6-9. His upcoming idyllic location. Complementing the concert The Orchestra is also recognised for RPO releases include Shostakovich’s 5th series at Cadogan Hall, the Orchestra its artistic work through a vibrant and Symphony, Mussorgsky’s Pictures at an regularly performs in the magnificent Royal innovative community and education Exhibition and the complete symphonies of Albert Hall, presenting works of great programme, titled RPO resound. Specially Brahms and Tchaikovsky. magnitude designed to suit the immensity of trained members of the Orchestra, alongside this historic and grand venue. accomplished project leaders, provide