Symphony No. 9 in E minor ('From the New World'), B. 178 (Op. 95) (first published as No. 5): Adagio...Allegro molto
Symphony No. 9 in E minor ('From the New World'), B. 178 (Op. 95) (first published as No. 5): Largo
Symphony No. 9 in E minor ('From the New World'), B. 178 (Op. 95) (first published as No. 5): Molto vivace...Poco sostenuto
Symphony No. 9 in E minor ('From the New World'), B. 178 (Op. 95) (first published as No. 5): Allegro con fuoco
Othello, concert overture, B. 174 (Op. 93)
Carnival (Karneval), concert overture, B. 169 (Op. 92)
This entry in the new Penguin Music Classics collection presents one of the best readings of Dvorák's Ninth, From the New World. In her liner essay, playwright Wendy Wasserstein--author of the acclaimed Heidi Chronicl... more »es--describes playing the Ninth at blaring volumes on her discman as she traversed downtown Prague. And this is exactly how the music should be heard: loud. Dvorák's Ninth is, of course, so frequently played that it can become cumbersome, but Istvan Kertész and the London Symphony Orchestra play the score wonderfully, tender in the Largo and pouncing in the Molto vivace. This performance gives off pristine string and brass architectural detail even as the Ninth swoons in romantic washes and blasts in robust high energy. And there are few crescendos as brilliant as the Allegro section, with the brass crying out as if from the precipice between Dvorák's centuries-old Prague and the young, multiracial United States. Much has been made of the presence of Native American and African-American strains in this piece, and these elements make it one of the 19th century's acknowledged gems. The Ninth was a huge splash for Dvorák when he unloosed it in 1893 at Carnegie. Wasserstein relates how it invigorated her as a high school student in 1966, and it still electrifies listeners in 1998. --Andrew Bartlett« less
This entry in the new Penguin Music Classics collection presents one of the best readings of Dvorák's Ninth, From the New World. In her liner essay, playwright Wendy Wasserstein--author of the acclaimed Heidi Chronicles--describes playing the Ninth at blaring volumes on her discman as she traversed downtown Prague. And this is exactly how the music should be heard: loud. Dvorák's Ninth is, of course, so frequently played that it can become cumbersome, but Istvan Kertész and the London Symphony Orchestra play the score wonderfully, tender in the Largo and pouncing in the Molto vivace. This performance gives off pristine string and brass architectural detail even as the Ninth swoons in romantic washes and blasts in robust high energy. And there are few crescendos as brilliant as the Allegro section, with the brass crying out as if from the precipice between Dvorák's centuries-old Prague and the young, multiracial United States. Much has been made of the presence of Native American and African-American strains in this piece, and these elements make it one of the 19th century's acknowledged gems. The Ninth was a huge splash for Dvorák when he unloosed it in 1893 at Carnegie. Wasserstein relates how it invigorated her as a high school student in 1966, and it still electrifies listeners in 1998. --Andrew Bartlett
"In an early review, Songs of the Auvergne, I commented that there were some pieces of music like Dvorak's 9th that I loved but I couldn't find the right performance. Recently I heard samples of this recording on Amazon. Based on those samples I got it. It is a marvel. Though it is a 1966 recording the sound is superb and it feels virtually live. The conducting of Istvan Kertesz is more tender than sentimental, more clean than lush, more brilliant than loud, and the pacing is more like advancing rapids than like a driven war-horse. The strings are right on, the brass are virtuosic, and the drama resplendent. A tour de force. I prefer this CD well above the Karajan, Masur, and Solti versions.The Othello and Carnival overtures are also well played. The jacket cover has an irrelevant and insipid essay by a writer; I guess Penguin is using the space to promote its library of literature."
Fair, but Decca should re-issue the finest "New World" !
Jeffrey Lee | Asheville area, NC USA | 07/11/2002
(3 out of 5 stars)
"This is the second rendering of Dvorak's Ninth by Kertesz. The first was recorded close to 1960 on the same London/Decca label with the Vienna Philharmonic. I wish I could feel as exuberant about recommending this more recent London Symphony version; however, while the playing is competent, the interpretation is missing those attributes that made the earlier Vienna version so non-pareil. For starters, one reviewer hits it right on the nose---this London Symphony account "seems flat", that is, in comparison to the Vienna, which serves up in spades an aura of poetic nostalgia, panoramic vistas and sweeping dynamics. And the recorded sound is absolutely wonderful. I've heard a lot of "New Worlds", but the Kertesz/Vienna Philharmonic matches, for me, the ideal of what this work should sound like. Why Decca has not reissued it in its Legendary Performances series, I don't know. If and when they do, get it immediately, and you will see/hear what I mean. However, in the absence of the Kertesz/Vienna version, I would go with the sensitive Walter/Columbia Symphony performance."
A great way to get started with classical music
Mark R. De Guire | Cleveland Heights, Ohio | 06/06/2000
(5 out of 5 stars)
"As a kid, I enjoyed "programatic" classical music -- ballets, tone poems -- and shorter pieces like marches and waltzes. The "New World" Symphony was the first extended piece of "pure" music that I ever loved: vigorous, tender, exciting, heartbreaking. Not only is it full of memorable themes, but it's a fine way to learn about some of the structures that composers of program-less music used to express their ideas. The first movement is a textbook specimen of the sonata-allegro form, and the symphony overall is a great example of the cyclic form used so often in late 19th-century symphonies. In short, I recommend this work to anyone who's ready to go beyond the Suites and the Highlights collections. I have treasured this particular recording for 20 years as an LP, and it's great to have it on CD. To top it off, the "Carnival" Overture is simply thrilling, and Othello is dark and dramatic, and the disk is mid-priced. You can't go wrong!"
The crown jewel of Dvorak's symphonies and Kertesz's cycle
Yi-Peng | Singapore | 06/21/2001
(5 out of 5 stars)
"Despite Kertesz's short life, his recoded legacy was of a uniformly high quality throughout. This Decca recording of the New World Symphony is no exception, with clean-cut London Symphony Orchestra playing and superb Decca engineering. Kertesz elicits peerless playing from his London forces, and perhaps the commitment to making the recording shows by the fact that they were still recording a Dvorak cycle at that time. To top it all off, the Kingsway Hall acoustics suit the orchestral sound admirably well, and the recording giving the rochestra a lifelike presence.
Kertesz's disc (directly reissued from an earlier Decca Classic Sound release) still has the two overture fill-ups that came with the original release, and they enhance the economic value of this lower mid-priced disc while rounding off a more than satisfying musical experience. Even despite my view that putting these overtures at the beginning would have been a better idea to prepare the listener for the symphony to give a sense of what Dvorak was to compose at the time of the other works included here, they are played with polish, gusto and a sense of idiomatic flair. The symphony, at the same time, is given polish, tautness and a sense of drama that only benefits the work more than anything else. After a slow introduction that conveys a deep sense of foreboding, the first movement lurches into action with power, adreanaline and energy that can easily give way to lyricism in the gentler secondary episodes. The Largo in itself is given a ravishing performance, with a clear-toned oboe soloist in the main theme, and the muted strings sounding peerless and beautiful. In time, the performance lurches into action, with a fierce, dynamic and pulsating Scherzo (complete with a light-footed Trio section) and a forward-moving Finale, maintaing electricity up to the closing bars. The energy and excitement of these two last movements in the symphony is enough to crown this kudo-winning performance and in itself Kertesz's entire Dvorak symphony cycle.
To sum everything up, this is one of the finest Dvorak New World performances I have heard in a long time on record. Though I have some slight reservations about the minor lack of warmth in the playing, the slightly poor judgement of tempo in the first movement, and the slightly dryish recording with a boomy timpani, I still find this an enjoyable listen. I'm sure that for many a listener, buying one version of this symphony only means that you may not be able to get enough of this work, and I also recommend the DG recordings of Kubelik, Levine and Abbado to complement the Kertesz recording here. But, I would like to say that this perfect recording is one of the essential recordings with which to start when looking for a Dvorak New World, and its price makes this a more tempting jump-off point for recordings of this much loved work."
Wonderful recording of a remarkable work.
E. Soublet | Portland, OR | 10/08/2005
(5 out of 5 stars)
"Who knew that Penguin, powerhouse publisher of classic literary works, produced CDs? I didn't until this particular recording of the Symphony from the New World was recommended to me. So far I have only managed to listen to it on my computer and even the sub-par speakers can not mask the richness of this recording. I look forward to many listening sessions on a real audio system. And you can't beat the price."