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Antonín Dvořák István Kertész Tyl Simrock Heim London Symphony Orchestra Provisional Theatre
Antonín Dvořák: "My Home" Overture, op. 62, B 125a (with Score) Composed: 21 January - 23 January 1882 Conductor: István Kertész Orchestra: London Symphony Orchestra The overture My Home is part of a programme of incidental music which Dvorak wrote at the request of the management of the Provisional Theatre to accompany the play by Frantisek Ferdinand Samberk, Josef Kajetan Tyl. Samberk’s play, depicting the beginnings of Czech theatre and the life of dramatist Josef Kajetan Tyl, is intensely patriotic, a fact also reflected in the stage music: It was Samberk’s wish that, towards the end of each act, the audience would hear music derived from the themes of the song “Where is my home?” (today the Czech national anthem), whose text was the work of Tyl himself. In addition to several passages of melodramatic music and two intermezzos, Dvorak also wrote an overture to the play, the only one still occasionally performed as a separate concert piece. The overture was published independently by the Berlin-based firm Simrock under the title Mein Heim (My Home).
Antonín Dvořák Jaroslav Krombholc Tyl Vrána Simrock Adolf Čech Novotný Orchestre Symphonique Radio Prague Provisional Theatre 1841 1881 1882 1891 1892 1904 1918 1975 1976
Antonín Dvořák +••.••(...)): My Home, op. 62 Overture to Šamberk's play "Josef Kajetán Tyl" In Nature's Realm, op. 91 09:40 Prague Radio Symphony Orchestra Симфонический оркестр Пражского радио Rundfunk-Sinfonieorchester Prag, L'Orchestre symphonique de la Radio Prague, Jaroslav Krombholc (conductor) Ярослав Кромбхолц / Антоњин Дворжак Увертюры, мое гнездо, Карнавал, Отелло, в природе, mon pays natal. rec. from 25 to 28 August, 1975 Pavel Kühn, Jan Vrána (recording directors) Stanislav Sýkora (recording engineer) Miloslav Žáček (cover [design]) Pavel Vácha (cover [photo]) Liner notes: »Antonín Dvořák's +••.••(...)) concert overtures represent, in terms of quantity, a relatively small proportion of his work. Three of them were written originally for stage plays ("Dramatic Overture", "My Home", and "Hussite Overture"), but today they are played exclusively by symphony orchestras. Overtures written explicitly for the concert hall (the cycle "Nature, Life and Love") are an exception in Dvořák's work, but it is in them that he emerges as teh supreme - and as yet unsurpassed - master of that genre in Czech music. In late 1881 and early 1882 Dvořák composed at Vysoká incidental music to František Ferdinand Šamberk's play "Josef Kajetán Tyl" on the founder of modern Czech drama. Dvořák's "most minuscule stage intimity", as it has been described by Otakar Šourek, comprise nine musical oieces which accompany, in the form of entr'actes or melodramas, the stage presentation of J. K. Tyl's life. Tyl wrote the lyrics for the song "Where is my home" [Où est ma patrie?], which Czechoslovakia adopted as part of its National Anthem after winning independence on October 28, 1918, and Dvořák felt bound to employ the tune, indeed to fashion the overture and the rest of the stage work around it. Nevertheless, he treated the as yet "unofficial" anthem in his own original way, by juxtaposing to its lyrical tone the lively Czech folk tune "In the farmyard everything is crowing and cackling", sung by the village musician Kalafuna in Tyl's play "The Bagpiper of Strakonice". That combination, acceptable in Dvořák's time and logical in the context of the stage play (which describes Tyl's retreat from Prague to the countryside), appears rather bizzare to the contemporary Czech listener who cannot help recalling the contrasting lyrics of the two songs, but the foreign listener is free of that disturbing impression. The overture was the last of the stage pieces to be composed, and Dvořák wrote it in the record time of three days. Simrock published it in 1882 under the titel "My Home". Both songs are developed here, first in the extensive introduction, followed by the regular sonata form with a hint at recapitulation; in the coda, the lyrical theme is featured with full brilliance. The overture was first performed at the play's première on February 3, 1882, in Pragues's Provisional Theatre, with Adolf Čech conducting. In September 1891 Dvořák stayed away from the celebrations of his 50th birthday. He remained at Vysoká, where he way busy completing the second part of the trptych "Nature, Life and Love". He worked on it from March 31, 1891, to January 18, 1892, and gave it originally not only the common title, but also the common opus number 91. The overture "In Nature's Realm" describes Man's immersion in Nature's bosom, where he listens to the increasingly urgent force of its hidden voice, before returning, with his spirit cleansed, to Life's whirlpool in "Carnival", which he embraces ininhibitedly in a wild dance. The intermezzo reminds him of Nature before a renewed flood of joy, followed - in "Othello" - by the supreme human emotion, Love. That originally happy emotion is soon denigrated by jealousy, which finally finds its outburst in a conflict leading to tragedy. In all three overtures, the composer managed to confine himself to the sonata form suited to the occasion. Motivically, the three overtures are selfcontained works, whose single common link is the Nature theme. That theme underlies the first overture, its echo is featured in the second, and in the third it is an insparable part of the jealousy theme (since Dvořák regards both love and jealousy as nature elements). While still working on the cycle, Dvořák signed a contract with New York's National Conservatory, and his three overtures were featured prominently at his farewell concert in Prague (on April 28, 1892) and at his welcoming concert in New York (on October 21), both of which he conducted himself. (. . .)« Milan Novotný
Butcher Smetana Provisional Theatre 1841 1904
petelashley.com fb.com/petelashleymusic There is a surprising twist to the way Pete plays Antonin Dvorak’s ‘New World Symphony.’ Using a steel slide and moving up and down the fretboard of the guitar, the melody (originally written by Dvorak to be played on English horn) is played over a chugging guitar rhythm and cowbell. An egg shaker soon joins in to add fizz to the percussion and the whole effect is an energetic and highly original take on this classic tune. Dvorak was born in the village of Nelahozeves near Prague in 1841. His father was a butcher and while his early circumstances were relatively poor, he learned violin, viola, piano and organ at school. He later studied in Prague and there for a number of years played viola in the Provisional Theatre Orchestra. This gave him deeper knowledge of orchestral dynamics. Bedrich Smetana was the founding father of the Czech nationalist school of music and the chief conductor. He was a big influence on Dvorak. Later in his career Dvorak toured Europe and then with his family America where he took up the director post in the National Conservatory Of Music in New York. Here he continued his interest in folk music learning about Black American and native American music traditions. During his stay in America he was to write ‘New World Symphony’. The slow movement’s reflective slightly melancholic melody hints at the composer’s homesickness for his native Czech land. Dvorak was to return home after 3 years away and he died in Prague in 1904.
Bedřich Smetana Josef Proksch Franz Liszt Richard Wagner Freed Antonín Dvořák Provisional Theatre 1824 1848 1866 1874 1884
Bedřich Smetana - Vyšehrad (Má Vlast) Bedřich Smetana (Czech pronunciation: [ˈbɛdr̝ɪx ˈsmɛtana] (About this sound listen); 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style which became closely identified with his country's aspirations to independent statehood. He is thus widely regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride and for the symphonic cycle Má vlast ("My Homeland"), which portrays the history, legends and landscape of the composer's native land. Smetana was naturally gifted as a composer, and gave his first public performance at the age of 6. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works. During this period of his life Smetana was twice married; of six daughters, three died in infancy. In the early 1860s, a more liberal political climate in Bohemia encouraged Smetana to return permanently to Prague. He threw himself into the musical life of the city, primarily as a champion of the new genre of Czech opera. In 1866 his first two operas, The Brandenburgers in Bohemia and The Bartered Bride, were premiered at Prague's new Provisional Theatre, the latter achieving great popularity. In that same year, Smetana became the theatre's principal conductor, but the years of his conductorship were marked by controversy. Factions within the city's musical establishment considered his identification with the progressive ideas of Franz Liszt and Richard Wagner inimical to the development of a distinctively Czech opera style. This opposition interfered with his creative work, and might have hastened a decline in health that precipitated his resignation from the theatre in 1874. By the end of 1874, Smetana had become completely deaf but, freed from his theatre duties and the related controversies, he began a period of sustained composition that continued for almost the rest of his life. His contributions to Czech music were increasingly recognised and honoured, but a mental collapse early in 1884 led to his incarceration in an asylum and subsequent death. Smetana's reputation as the founding father of Czech music has endured in his native country, where advocates have raised his status above that of his contemporaries and successors. However, relatively few of Smetana's works are in the international repertory, and most foreign commentators tend to regard Antonín Dvořák as a more significant Czech composer.
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