Václav Juda Novotný Vidéos
compositeur tchèque
- opéra, musique classique, musique vocale, musique liturgique
- Tchécoslovaquie, empire d'Autriche, Autriche-Hongrie
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2024-04-18
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Antonín Dvořák Novotny Bennewitz 1873 1910 1929
Antonín Dvořák: String Quartet No. 5 in F minor, Op. 9, B 37 (with Score) Composed: September 1873 - 4 October 1873 Performance: Prague String Quartet 00:00 1. Moderato (F minor - F major) 15:28 2. Andante con moto quasi allegretto (F minor) 23:41 3. Tempo di valse (F minor) 26:28 4. Finale. Allegro molto (F minor - F major) The String Quartet in F minor was written for a semi-professional chamber ensemble grouped around the influential industrialist Josef Portheim; Dvořák also played the viola with them when the ensemble gave private concerts. Portheim himself was a fine cellist, and the quartet also featured excellent violinist and professor at the Prague Conservatoire, Antonin Bennewitz. Musical soirees were held in Portheim’s Baroque villa in Prague’s Smichov district (today the “Portheimka villa”). According to the testimony of music critic Vaclav Juda Novotny, the players were not taken with the piece, since it “lacked the style appropriate for chamber music”. The frustrated composer apparently tore out the dedication to Portheim from the title page and handed the score to Novotny, telling him that he never wanted to see it again. The manuscript was found in Novotny’s possession only after the composer’s death, in 1910, but it was many years before it came out in print. The piece was published by Breitkopf and Hartel in 1929; the quartet was performed publicly for the first time a year later. The autograph of the score is now missing.
Bedřich Smetana Josef Suk Václav Juda Novotný Novotný Karel Kovařovic Jan Panenka 1824 1880 1884 1962
0:00 – no.1 in A major 5:29 – no.2 in g minor Z domoviny [From the Homeland] is a set of two program music miniature pieces for piano and violin, a rarity in the worldwide context. They are essentially chamber music counterparts of Má vlast, the famous set of six symphonic poems. Smetana was completely deaf at the point of writing the piece in 1880. He himself wrote that the duets are 'in lighter style, more for domestic use than concert performance but without ruling it out completely, in true nationalist style, however with my own melodies'. The work was premiered by Václav Juda Novotný and Karel Kovařovic. Composer – Bedřich Smetana +••.••(...)) Violin – Josef Suk Piano – Jan Panenka Year of recording – 1962 Upload authorized by Supraphon, sheet music is public domain.
Antonín Leopold Dvořák Václav Neumann Zdeněk Zahradník Pfleger Bartoš Václav Juda Novotný Novotný Beethoven Jarmil Burghauser Czech Philharmonic Orchestra Provisional Theatre 1841 1865 1904 1973 1984
Antonín Leopold Dvořák +••.••(...)): Symphony No. 1 in C minor "The Bells of Zlonice" I. Maestoso II. Adagio di molto 12:00 The Czech Philharmonic Orchestra, Václav Neumann (conductor) Miloslav Kulhan (sound engineer) Zdeněk Zahradník (recording supervisor) rec. at the Supraphon Studio of the House of Artists, Prague, 9, 22 and 23 January, 1973. This recording is a part of the complete set of Dvořák's nine symphonies. Liner notes: »Antonín Dvořák's rich harvest of compositions of 1865 was undoubtedly connected with the profound and conflicting emotional experineces which marked his life at that time. He was working for his second season as a violist at the Provisional Theatre in Prague when young and charming Josefína Čermáková was engaged in the ensemble to perform roles of naïve girls. At some time in that period she also began to take piano lessons from Dvořák and it is not surprising that her appearance, intelligence and enchanting nature, which immediately made her the idol not only of the Prague public, but also of her theatrical colleagues and specialists, had a profound effect on the young man and mobilized his creative forces in a way that was quite new to him. At the beginning of 1865 he began to write his First Symphony, which he completed on 24 March, and at the end of June he finished his first concerto for cello, an extensive and momentous work, even if only with a piano accompaniment. In July he composed his cycle of eighteen songs called Cypresses to love poetry by Gustav Pfleger-Moravský and from August to October he worked on his second symphony. In unanimity with Otakar Šourek, František Bartoš wrote: "If the song cycle Cypresses is a direct confession in which the young composer wishes to express his feelings with the help of words and if the Symphony in B flat major is a work of liberation in which he comes to terms with a feeling unrequited by the other party, then we can also accept the interpretation that the Symphony in C minor is the first element of this closed circle - an expression of the longing and hopes which, at the beginning of his new feeling, Dvořák connected with the person he loved and towards whom he never became indifferent throughout the whole course of his life." Yes, the state of unrequited love developed into a friendship of rare beauty - strengthened by the fact that the composer later married Josefina's younger sister, Anna - which lasted a whole lifetime. Dvořák wrote a magnificent epitaph to it in the second and third movements of his second, far better-known Concerto for Cello in B minor at the time of Josefina's death. In Dvořák's first symphony, however, we must primarily see the composer's first reflections on his life to date as a human being and as an artist as well as his view of the future, based on the passion awakened in him by his first great emotional feeling. And Zlonice, which the composer brought to mind not only in the name which he communicated by word of mouth to his intimate friend, Václav Juda Novotný, but quite clearly also in the fine musical evocation of remote chimes heard in the first bars of the allegro of the first movement (after the pathetic eight-bar opening), occupied an important place in it. After all, it was at Zlonice that the composer gained the decisive understanding of his teacher, Antonín Liehmann, who exerted a postive influence on Dvořák's father in the matter of the choice of young Antonín's future career. And here we can perhaps also hear the story, narrated by a contemporary in the person of Mr. Podhora, manager of a sugar factory, of how the young boy was brought to tears by the sound of the bells of Zlonice which accompanied one of his performances as a singer when he sang a solo alto at a funeral. Otakar Šourek himself noticed the use of the same keys for the individual movements of the symphony as Beethoven hat applied in the movements of his Fifth Symphony and stressed the significance of the short, persistently repeated hard rhythmical motif, usually entrusted to bass instruments and heard right from the beginning of the previously mentioned allegro. Much later it appeared with even greater inexorable urgency in the Dies irae of Dvořák's renowned Requiem as a symbol of a destiny irrevocably determined by fate. It permeates - at least as an intimation - all the movements of the symphony, their gloomy, misty, stormy, joyous, solemn and picturesque moments, in order to lead the last movement, full of energy and optimism, to a triumphantly sounding close.« Jarmil Burghauser 1110 2877 ZA E 2727/C A 10 Λ
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