Anton Dvorak's Symphony No. 9 is one of classical music's all-time greatest hits. It was composed and premiered in New Yok in 1893, which is why - but not only why - it is known as the ''New World Symphony.'' On this recording, which also includes the first cycle on the equally popular Slavonic Dances, the Piano Duo Trenkner / Speidel once again demonstrates the great advantages and fascinating rhythmic verve offered by reductions for piano four hands. Trimmed of the comfortable and sumptuous sound of the large orchestra, Dvorak's genial treatment of motives of Bohemian folk character shines in even greater glory. However, not a single one of these motives is genuine folk music. Both in the United States and in his native Bohemia, Dvorak occupied himself very thoroughly with traditional music, including African American spirituals and Native American songs. He then invented his own melodies of the same character and was very successful - as the famous main theme of the second movement demonstrates; its melancholy feeling goes straight to the heart! Dvorak also thought out the Slavonic Dances completely on his own and so very precisely hit just the right tone that research has repeatedly been conducted to determine the precise origins of this music. The constant shifts of tempo and rhythmic modifications represent a genuine challenge for a pian oduo but are no problem at all for Evelinde trenkner and Sontraud Speidel, who draw on many years of joint performance experience. While Dvorak only later prepared the version of the Slavonic Dances for piano four hands, he produced the keyboard version of his ninth symphony at about the same time as its premiere. Since he repeatedly ranges quite far from the orchestral version, it does not involve a piano reduction in the usual sense. The result, a genuine piece of music for piano duo.
Dvorák's Ninth Symphony with the nickname “From the New World” is one of the most popular of all time, due to its emotional fore. It is one of the highlights of the complete recording of symphonic works of the Czech by Marcus Bosch and the Staatsphilharmonie Nürnberg (State Philharmonic Orchestra Nuremberg). The unfortunately little-known symphonic poem, “The Noon Witch”, is added to the musical program and convinces with musical drama.
Bruckner: Symphony No. 9 & Extracts from the rehearsals
BR Klassik
CD
$29.99Sep 04, 2026
The distinguished Swedish conductor Herbert Blomstedt, long associated with the Bavarian Radio Symphony Orchestra as a regular guest, conducted Anton Bruckner's Symphony No. 9 in d Minor, in concerts on May 7 and 7, 2009 in the in the Philharmonie i'm Gasteig in Munich. This new BR-KLASSIK CD presents not only the live recording of this compelling interpretation but also a live orchestral rehearsal recording from May 2009. The latter forms part of BR Klassik's acclaimed series Conductors at Rehearsal, offering a glimpse into their artistic work with the orchestra. "It seems that the Ninth is a limit. He who wants to go beyond it must pass away. [...] Those who have written a Ninth stood too close to the hereafter." Arnold Schoenberg wrote those words in reference to Gustav Mahler, who had just died without ever having heard his own Ninth Symphony performed. Bruckner was apparently afraid of the fatal number as well: "I don't want to start on my Ninth at all, I don't dare'. However, very soon after the completion of his Eighth Symphony in September 1887, Bruckner started on his first drafts. Overall, work on the Ninth then dragged on over the long period from 1887 to 1896, having to be constantly interrupted because of the composer's deteriorating health. Bruckner finally died while working on the fourth movement - and his masterpiece dedicated to "the beloved God' remained unfinished. Even without a finale, the three-movement torso that survives is, of course, extremely impressive. The completed movements were first performed in Vienna on February 11, 1903, in an unusual personal version by the conductor Ferdinand Lowe. The actual first performance of the original score with it's three movements only took place on April 2, 1932 in Munich. Ever since, Bruckner's Ninth has been an essential part of the Late Romantic symphonic repertoire - above all in it's original version. The detailed rehearsal recordings on the CD provide a deeper insight into this magnificent work. Listeners can experience first-hand how the conductor's wishes, ideas and instructions are implemented, how his explanations and his temperament change the resulting sound, and what thoughts lie behind the interpretation of the work. Thanks to this series, which is now also available on CD, the unique artistic partnership between Herbert Blomstedt and the Bavarian Radio Symphony Orchestra can be documented. Blomstedt's seemingly inexhaustible source of energy - music itself - is palpable in every word and every bar. ? Herbert Blomstedt conducts the Bavarian Radio Symphony Orchestra in concerts on May 7 and 8, 2009 ? Live recording of Bruckner's Symphony No. 9 ? Includes "Conductors at Rehearsal": live recording of the orchestra rehearsal May 7 and 8, 2009 for the Munich concerts
The German composer Johanna Senfter was a student of Max Reger, who recognized her musical talent and encouraged her to pursue advanced studies in his composition class in Leipzig, which she completed with distinction in 1909. In 1910, she was awarded the Arthur Nikisch Prize for the best student composition of the year. Born into a well-to-do industrial family, she was financially independent and able to devote herself entirely to her creative work throughout her life. In addition to numerous chamber music pieces, she left behind nine symphonies. From the youthful Sturm und Drang of her first symphony (1914) to the thoughtfully moving ninth (1949), composed after two world wars, the development of her musical language can be discovered here with this world premiere recording.
Expanded Edition - Dvorak: Symphony No 9, Etc / Bernstein
Sony Masterworks
CD
$11.98Jul 27, 2004
There's no such thing as a "definitive" recording, but if there were, this one would come close to that imagined ideal. Its special qualities haven't dimmed a bit in the four decades since it was recorded, and every interpretive decision comes across with the inevitability of fate itself. First, you get the first-movement exposition repeat (very unusual for its time), then there's the very slow (but still very flowing) Largo, gorgeously played and far from the trudge-fest that Bernstein would make of it in his lousy later recording for DG. The scherzo goes like the wind, the fastest ever, and the finale offers simply the last word in excitement. If you don't own this performance in some form, then you don't know the "New World".
Taken from a rapturously received and critically acclaimed performance at The Bridgewater Hall (with The Times' 5* review describing a 'splendid night' and hailing the magnificent sound of the 'blazing Halle) this recording will prove essential for those wishing to hear the work in the intended four movement form. The recording is accompanied by a booklet containing a personal introduction from Kahchun Wong and a note from Dr. John A. Phillips, surveying the material Bruckner left for the Finale and detailing the work done on reconstructing it for performance.
To date, countless composers and Bruckner scholars have attempted to undo the body-snatching and reconstruct the manuscripts of the fourth movement into a whole "in the spirit of the composer". François-Xavier Roth and the Gürzenich Orchestra Cologne remain true to the original three-movement version in their highly acclaimed Bruckner cycle, and this album marks an important milestone in the work's discography.
• Anton Bruckner died before completing work on the fourth and final movenment of his 9th symphony.
• Conductor Mario Venzago's ongoing complete Bruckner symphony cycle has provoked vehement pro and contra critical reaction.
• The Bern Symphony's history dates back more than 125 years.
The 2019/20 Season marks the start of Maxim Emelyanychev's role as Principal Conductor of the Scottish Chamber Orchestra and the release of his Linn recording debut. Emelyanychev, an outstanding representative of the younger generation of Russian conductors, discovered an instant rapport with the SCO when he substituted for Robin Ticciati in 2018. It was this performance of Schubert's 'Great' C major Symphony that secured Emelyanychev's appointment and created a fervent anticipation for this recording. The concert prompted The Scotsman to comment: 'Emelyanychev [was] constantly balancing surface charm and vigor with a far darker, more manic undertow -not least in the towering cumulative energy of his propulsive finale.' Schubert's Ninth Symphony was the composer's final major contribution to the genre and his maturity is reflected in it's intensely lyrical melodies and monumental scale. Emelyanychev procures a very precise blend and balance by applying a historical aesthetic similar to the one that has previously seen accolades heaped upon this award-winning orchestra
