La reputación de Antonin Dvorák (1841-1904) como sinfonista se estableció definitivamente con la publicación de sus 5ª y 6ª sinfonías, y la triunfal recepción de su sinfonía más grande, la 7ª. La 8ª es una obra más ligera y soleada y fue un éxito inmediato, especialmente en el Reino Unido, donde Dvorák disfrutó de una buena prensa y adoración pública, y la obra tuvo por un corto tiempo de los ingleses extraño, considerando que está llena de alegres ritmos de baile checos y bohemios. La 9ª sinfonía es tanto una sinfonía americana como checa. Dvorák comentó que al descubrir melodías negras descubrí todo lo necesario para una gran y noble escuela de música. También estaba al momento de la composición de la 9ª, alojado en la pequeña ciudad estadounidense de Spillville (300 habitantes), que tenía una gran comunidad de emigrantes checos. Aunque rodeado de gente de su patria, anhelaba regresar a casa, y un sentimiento nostálgico impregna la partitura junto con las influencias de temas nativos americanos y espirituales negros. Lo que la 9ª carece en términos de estructura en comparación con los números 6 y 7, lo compensa con una riqueza melódica pura. Ha sido un favorito del salón de conciertos desde su estreno en Nueva York en 1893. Dvorák abandonó la sinfonía después de 1893 y se embarcó en una serie de poemas sinfónicos que contienen alguna de sus más notables músicas, y anticipan los posteriores poemas sinfónicos tanto de Sibelius como de Strauss, así como el mundo sonoro de Janácek. La Bruja del Mediodía, junto con las otras 3 obras de la serie, se basan en cuentos populares checos a menudo brutales y aterradores. En esta obra, la madre intenta calmar a su bebé diciendo que la bruja del mediodía vendrá como castigo si el bebé no deja de llorar ... el bebé sigue llorando, la bruja aparece y mata a madre e hijo.
https://dvdstorespain.es/es/musica/103497-antonin-dvorak-symphony-8-9-the-noonday-witch-seiji-ozawa-cd-de-audio-seiji-ozawa-wiener-philarmoniker-dvorak-and-seij-8718247710034.html103497ANTONIN DVORAK: Symphony 8 - 9, The Noonday Witch (Seiji Ozawa) [CD de audio] Seiji Ozawa, Wiener Philarmoniker, Dvorak and Seij<div id="productDescription" class="a-section a-spacing-small"> <!-- show up to 2 reviews by default --><br /><p> <span>Antonin Dvorák (1841-1904) reputation as a symphonist finally established itself with the publication of his 5th and 6th symphonies, and the triumphant reception accorded to his greatest symphony the 7th. The 8th is a lighter, sunnier work and was an immediate success, especially in the UK where Dvorák enjoyed a good press and public adulation, and the work had for a short time of The English odd considering it is full of lively Czech and Bohemian dance rhythms. The 9th symphony is both an American and a Czech symphony. Dvorák commented that upon discovering Negro melodies I discover all that is necessary for a great and noble school of music . He was also at the time of the 9th s composition, staying at the small American town of Spillville (300 inhabitants), which had a large émigré Czech community. Although surrounded by people from his homeland, he longed to return home, and a nostalgic feeling permeates the score alongside the influences of Native American themes and Negro spirituals. What the 9th lacks in terms of structure compared with Nos. 6 and 7 it makes up for in sheer melodic riches. It has been a concert-hall favourite since its premiere in New York in 1893. Dvorák abandoned the symphony after 1893, and embarked on a series of tone poems that contain some of his most remarkable music, and foreshadow the later tone poems of both Sibelius and Strauss, as well as the sound world of Janácek. The Noonday Witch together with the other 3 works in the series are all based on Czech folk tales often brutal and scary. In this work, the mother tries to quieten her baby saying that the noonday witch will come for the baby as punishment if it won t stop crying... the baby continues to cry, the witch appears and strikes both mother and child dead.</span> </p> </div>https://dvdstorespain.es/604958-home_default/antonin-dvorak-symphony-8-9-the-noonday-witch-seiji-ozawa-cd-de-audio-seiji-ozawa-wiener-philarmoniker-dvorak-and-seij.jpg5.7851instockNewton5.78515.7851002023-02-23T01:50:46+0100/Inicio/Inicio/Música/Inicio/Nuevos
Antonin Dvorák (1841-1904) reputation as a symphonist finally established itself with the publication of his 5th and 6th symphonies, and the triumphant reception accorded to his greatest symphony the 7th. The 8th is a lighter, sunnier work and was an immediate success, especially in the UK where Dvorák enjoyed a good press and public adulation, and the work had for a short time of The English odd considering it is full of lively Czech and Bohemian dance rhythms. The 9th symphony is both an American and a Czech symphony. Dvorák commented that upon discovering Negro melodies I discover all that is necessary for a great and noble school of music . He was also at the time of the 9th s composition, staying at the small American town of Spillville (300 inhabitants), which had a large émigré Czech community. Although surrounded by people from his homeland, he longed to return home, and a nostalgic feeling permeates the score alongside the influences of Native American themes and Negro spirituals. What the 9th lacks in terms of structure compared with Nos. 6 and 7 it makes up for in sheer melodic riches. It has been a concert-hall favourite since its premiere in New York in 1893. Dvorák abandoned the symphony after 1893, and embarked on a series of tone poems that contain some of his most remarkable music, and foreshadow the later tone poems of both Sibelius and Strauss, as well as the sound world of Janácek. The Noonday Witch together with the other 3 works in the series are all based on Czech folk tales often brutal and scary. In this work, the mother tries to quieten her baby saying that the noonday witch will come for the baby as punishment if it won t stop crying... the baby continues to cry, the witch appears and strikes both mother and child dead.