Symphony 1 / In Natures Realm Carnival

On this CD:

1. In Nature's Realm (V prírode), concert overture, B. 168 (Op. 91)
Composed by Antonin Dvorak
Performed by Czech Philharmonic Orchestra
Conducted by Gerd Albrecht

2. Carnival (Karneval), concert overture, B. 169 (Op. 92)
Composed by Antonin Dvorak
Performed by Czech Philharmonic Orchestra
Conducted by Gerd Albrecht

3. Othello, concert overture, B. 174 (Op. 93)
Composed by Antonin Dvorak
Performed by Czech Philharmonic Orchestra
Conducted by Gerd Albrecht

4. Symphony No. 1 in C minor, Op. 68
Composed by Johannes Brahms
Performed by Czech Philharmonic Orchestra
Conducted by Gerd Albrecht

Tracks:

Symphony No. 1 In C Minor 'Zlonicke zvony': I: Allegro
Symphony No. 1 In C Minor 'Zlonicke zvony': II: Adagio molto
Symphony No. 1 In C Minor 'Zlonicke zvony': III: Allegretto
Symphony No. 1 In C Minor 'Zlonicke zvony': IV: Finale - Allegro animato
Symphony No. 2 In B Flat Major, Op. 4: Allegro con molto

Tracks:

Symphony No. 2: II: Poco adagio
Symphony No. 2: III: Scherzo: Allegro con brio
Symphony No. 2: IV: Finale: Allegro con fuoco
Symphony No. 3 In E Flat Major, Op. 10: I: Allegro moderato
Symphony No. 3 In E Flat Major, Op. 10: II: Adagio molto
Symphony No. 3 In E Flat Major, Op. 10: III: Finale: Allegro vivace

Tracks:

Symphony No. 4 In D minor, Op. 13: I. Allegro
Symphony No. 4 In D minor, Op. 13: II. Andante sostenuto e molto cantabile
Symphony No. 4 In D minor, Op. 13: III. Allegro feroce
Symphony No. 4 In D minor, Op. 13: IV. Allegro con brio
Symphony No. 5 In F Major, Op. 76 (Beginning): I. Allegro ma non troppo
Symphony No. 5 In F Major, Op. 76 (Beginning): II. Andante con moto
Symphony No. 5 In F Major, Op. 76 (Beginning): III. Scherzo: Allegro scherzando

Tracks:

Symphony No. 5 (Conclusion): IV. Finale: Allegro molto
Symphony No. 6 In D Major, Op. 60: I. Allegro non tanto
Symphony No. 6 In D Major, Op. 60: II. Adagio
Symphony No. 6 In D Major, Op. 60: III. Scherzo (Furiant): Presto
Symphony No. 6 In D Major, Op. 60: IV. Finale: Allegro con spirito
'V prirode', Op. 91: In Nature's Realm

Tracks:

Symphony No. 7 In D Minor, Op. 70: I. Allegro maestoso
Symphony No. 7 In D Minor, Op. 70: II. Poco adagio
Symphony No. 7 In D Minor, Op. 70: III. Scherzo: Vivace - poco meno mosso
Symphony No. 7 In D Minor, Op. 70: IV. Allegro
Symphony No. 8 In G Major, Op. 88: I. Allegro con brio
Symphony No. 8 In G Major, Op. 88: II. Adagio
Symphony No. 8 In G Major, Op. 88: III. Allegretto grazioso
Symphony No. 8 In G Major, Op. 88: IV. Allegro ma non troppo

Tracks:

Symphony No. 9 In E Minor, Op. 95 'Z Noveho sveta': I. Adagio - Allegro molto
Symphony No. 9 In E Minor, Op. 95 'Z Noveho sveta': II. Largo
Symphony No. 9 In E Minor, Op. 95 'Z Noveho sveta': III. Molto vivace
Symphony No. 9 In E Minor, Op. 95 'Z Noveho sveta': IV. Allegro con fuoco
'Karneval' Overture, Op. 92
Scherzo capriccioso, Op. 66
'Domov muj' Overture, Op. 62

Amazon.com essential recording

For decades, there were only three complete collections of Dvorák's symphonies: this one; Rowicki's with the same orchestra; and Kubelik's with the Berlin Philharmonic. Kertész offers the most rustic, gutsy interpretations of all. Famous for his dislike of rehearsals, he allows the London Symphony to make a much rougher sound than his colleagues tolerate, and though not the last word in polish, the results have a spontaneous charm that's pretty hard to resist. More to the point, Dvorák's early symphonies (Nos. 1 to 5) remain sadly neglected, and each one of them is full of gorgeous tunes cloaked in mellifluous orchestration. At budget price, this set now costs less than it did on LP in the 1960s. How can you do better than that? --David Hurwitz

Customer Reviews:

Heartfelt, passionate versions.......2007-06-23

The late Istvan Kertesz continues to amaze, with this spectacular reissue of his 1960s Dvorak symphonies cycle. These versions each compare well with or exceed the legendary recordings by Ancerl, Szell, Talich, et al. Sound quality is excellent, and the mix on the orchestra is almost always just right, balancing strings, brass, and percussion. Compared to some Czech recordings, the woodwinds volumes are a bit weak, which is unfortunate because woodwinds are one of Dvorak's specialties. If you have no other set of Dvorak symphonies, or have 10 copies of "From the New World" and no copies of Symphonies 1, 2 or 3, then this is a must-have set. From the opening bars of Symphony No. 1, you'll agree you're in the presence of greatness.

Great Recording.......2007-06-03

Friends and CD-guides told me this was the best. And they were right.

Great set of music!.......2007-05-24

Along with Piotr Tchaikovsky, Antonin Dvorak was probably the most prolific composer of the Romance period. He composed for just about every genre of classical music except ballet, and is known for a wide variety of works. Some of his most famous are his symphonies. He wrote 9, out of respect for Beethoven, and like the German master, the last one is the most widely recognized. But like Beethoven, all 9 symphonies are incredible pieces of music in their own right. This set has all 9 symphonies, along with several other popular orchestral works. The sound quality is good, the orchestration is great, and the choice of music is great. All the pieces are dramatic, with melodies that range from powerful to awe-inspiring to melancholy. Every piece of music in this set is purely in the Romantic style; full of emotion, and many are inspired by folk tunes from Eastern Europe. All in all, a great set, and for a great price.

Kertesz or Kubelik in the Dvorak symphonies?.......2006-05-03

Although decades old, the two analog sets of Dvorak symphonies from Kertesz and Kubelik remain the front-runnters. From the mid-Sixties onward Decca has been so satisfied with the groundbreaking Kertesz cycle, the first to bring Sym. 1-6 to the general listening public outisde Czechoslovakia, that the company has rarely re-recorded any but the last three, most famous symphonies. DG, on the other hand, didn't release Kubelik's Sym. 1-6 until the digital era (1988, I believe), keeping them in the vualts and out of competiiton with Kertesz.

Now both sets are offered at basically the same price on 6 mid-line discs, with deep discounts on the used market. The difference between the two is quite marked musically, however. Kertesz comunicates the thrill of discovery in the early symphhonies. Amazingly, he had never conducted them before, and their vibrancy and inner life lift my spirits every time I hear them. The LSO didn't know these pieces, either, but play with rousing commitment and vivacity.

By comparison, Kubelik sounds rather correct and staid. He often chooses marginally slower tempos, and his enthusiasm for letting the dance rhytyms become exciting is limited. The Berlin Phil. seems not to catch on to the Slavonic folk idiom, which gets played far too straight (Dvorak had the same problem with Greman orchestras in his lifetime and was only accepted in Vienna and Berlin at first as a kind of naive, folk-flavored Brahms). As to sonics, the Decca set holds up well, being a bit bright at times but otherwise detailed and forward. DG, unforunately, gave Kubelik's later symphonies (#7-9) harsh, glaring sound that makes his readings sound brash; there's an unpleasant sting to the sound at higher volumes. This problem seems less in the earlier symphonies (the cycle was recorded over a longer period than Kertesz's and thus has more variable sound). I do not know if the current re-issue also includes remastering.

It's regrettable that in the interest of economics Decca has cut out several of Kertesz's most interesting fillers, such as the Hussite Over., though they can be found on other CDs from him. We get the Carnival Over. on both sets, after which Kertesz gives us the "My Homeland" and "In Nature's Realm" Over., while Kubelik offers the Scerzo capriccioso and The Wild Dove tone poem, both performed by his Bavarian State Orchestra rather than the Berliners.

As msut be obvious by now, I don't feel the two sets are competitive artistically. Kubelik was a major conductor and dedicated to Dvorak, but his best work isn't here. Kertesz, though not native born to the composer as Kubelik was, found a special affinity for Dvorak, and his cycle is one of the small miracles of Sixties recording. Perhaps not so minor considering that no one has bettered him in the early symphonies for forty years.

Amazing performances.......2005-03-28

This orchestra really has a rich, powerful sound, but can still give deep emotional sounds, all of which are needed to perform Dvorak. I doubt one can find finer performances of these symphonies, and the other works included in the set are very well chosen. The performances of each symphony are incredible, the sound quality is very good, and as I said before, the orchestra is wonderful. Highly recommended.

Dvorák: Symphonies Nos. 1-9; In Nature; Serenade for Winds; Serenade for Strings, etc.

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Great value!

Dvorák: Symphonies Nos. 1-9; In Nature; Serenade for Winds; Serenade for Strings, etc.

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Wiener Musik

ASIN: B000A6T2KI
Release Date: 2005-09-06

Customer Reviews:

Great value!.......2007-06-01

I think this 7 cd set is totally worth the low price.
I can't find any review of this set of CDs online, so I did some research after I bought it.
It is the first CD release of Sir Andrew Davis's complete Dvorak's symphonies.
These recordings were made between 1978-1982 by CBS. (ADD/DDD)
SONY DSD remaster eliminated most of the early digital sound problems.
PO players produced warm and dramatic sounds.
The still young Andrew Davis did a great job adding his personal reading of the scores. I like his slower tempo treatment of Symphony No. 9.
Symphony no.1,3 and the Carnival overture are also great.
Only down side is the linear notes is too short, and lack of detail.
Dvorak's music always bring me the love for life. I hope you will enjoy it too.

Average customer rating:

breakdown by cd.
I'm not a music expert

Dvorák: The Masterworks [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLJW
Release Date: 2004-11-30

Customer Reviews:

breakdown by cd........2007-01-14

CD1-7:SYMPHONIES 1-9

CD8:PIANO CONCERTO

CD9:VIOLIN CONCERTO & CELLO CONCERTO

CD10-11:REQUIEM

CD12-13:STABAT MATER

CD14:PIANO TRIOS OP.90 "DUMKY" & 21

CD15:PIANO TRIOS OP.65 & 26

CD16:PIANO QUARTETS

CD17:PIANO QUINTETS

CD18:STRING QUINTETS

CD19-20:MUSIC FOR VIOLIN AND PIANO

C21:SERENADE/HAUSMUSIK

CD22-31:THE COMPLETE STRING QUARTETS

CD32:SLAVONIC DANCES OP.46 & 72

CD33:PIANO DUET SLAVONIC DANCES

CD34:PIANO DUET LEGENDS FROM THE BOHEMIAN FOREST

CD35:PIANO WORKS

CD36-37:RUSALKA

CD38-40:SYMPHONIC POEMS

I'm not a music expert.......2005-08-25

I don't know too much about music. I own over 700 cds, but I don't play music and I don't have much experience with this music. My only point of reference was the ninth symphony, seeing as every other piece in this box set was new to me. It sounds fine, nothing wrong with it as far as I can see.

Now, here's what you'll get in this box set, seeing as Amazon does not give it a description. 40 cds! no joke, you get 40 cds in this box set. It features:
1. Complete symphonies
2. Complete symphonic poems
3. Cello concerto
4. Piano concerto
5. Violin concerto
6. Requiem
7. Stabat Mater
8. Slavonic Dances
9. Complete String quartets
10. Chamber music
11. Piano Works (solo and duet)
12. Rusalka

As far as I can tell, the only things missing are The Spectre's Bride and Jacobin. Seeing as it is 40 cds, i have not had an opportunity to listen to it, however what i have heard i have been quite satisfied with.

The Most Uplifting Classics in the Universe

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The Most Uplifting Classics in the Universe

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Sextets | Chamber Music | Classical | Styles | Music

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Classical Blast

ASIN: B0002JUX9C
Release Date: 2004-08-17

Tracks:

Handel - Water Music, III.
Mozart - Eine Kleine Nachtmusik, I. Allegro
Mendelssohn - Violin Concerto, III. Allegro Molto Vivace
Beethoven - Symphony No. 5, IV. Allegro
Dvorak - "In Nature's Realm" Overture
Holst - The Planets, Jupiter, Bringer of Jollity
Mozart - Piano Sonata NO. 11, III. Alla Turca - Allegretto
Vivaldi - The Four Seasons, Spring, I. Allegro
Tchaikovsky - Symphony No. 4, II. Andantino in mode de Canzona
Dukas - Fanfare preceding "La Peri"
Mozart - Piano Sonata NO. 16, I. Allegro
Saint-Saens - Carnival of the Animals, XIII. The Swan

Tracks:

Bruckner - Symphony No. 4 "Romantic", First Movement
Mozart - Symphony No. 39, IV. Allegro
Handel - Water Music, XII. Alla Hornpipe
Strauss - Ein Heldenleben, 1. The Hero
Tchaikovsky - Symphony NO. 5 "Pathetique", II. Allegro con grazia
Dvorak - Symphony No. 8, I. Allegro con brio
Beethoven - Sextet, III. Rondo - Allegro
Bach - Orchestral Suite No. 1, III. Gavotte
Mozart - Flute Concerto in 2, I. Allegro aperto

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Splendid Dvorak 9th Symphony From Ashkenazy, CPO
GOING HOME SLOW

Symphony 9 / 3 Overtures
Dvorak , Ashkenazy , and Czech Philharmonic
Manufacturer: Ondine
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0000646FH
Release Date: 2002-06-25

Tracks:

Adagio - Allegro Molto
Largo
Scherzo: Molto Vivace
Allegro Con Fuoco

Tracks:

In Nature's Realm, Op. 91
Carnival, Op. 92
Othello, Op. 93

Customer Reviews:

Splendid Dvorak 9th Symphony From Ashkenazy, CPO.......2003-08-01

There's been a few great recordings issued of Dvorak's 9th Symphony in recent years, with highest honors going to those with Abbado and Harnoncourt conducting the Berlin Philharmonic and Royal Concertgebouw orchestras. Although this one pales in sound quality with these, it should be regarded as a first rate version due to the excellent collaboration between Vladimir Ashkenazy and the Czech Philharmonic Orchestra. The Czech Philharmonic Orchestra still retains much of the rich, warm tone prevalent in such Eastern European orchestras as the Leipzig Gewandhaus, Berlin Staatskapelle, and especially, Dresden Staatskapelle. And true to the spirit of their illustrious Czech musical forebear, the orchestra plays its hearts on its sleeve, creating one of the most haunting versions of the Largo I have yet heard. Ashkenazy does a splendid job leading the orchestra, though some, such as this reviewer, would have enjoyed a more spirited, innovative interpretation such as Harnoncourt's. The second CD contains three of Dvorak's tone poems and overtures; these are also well played by the Czech Philharmonic Orchestra. Anyone in search of a fine recent recording of the Dvorak 9th Symphony won't be disappointed with this 2 CD set.

GOING HOME SLOW.......2002-08-28

Dvorak's New World Symphony is my all time favorite symphony. Ashkenazy gets it right by playing Going Home soft and gentle though he picks up in the Scherzo with Molto vivace. In Nature's Realm has the Czech's natural flair for the dramatic. Carnival is a joy. The CD coupling had only one left from Amazon, so get it while you can.

Tracks:

The Wild Dove, Op.110
Sym No.1 in c: I. Allegro
Sym No.1 in c: II. Adagio Molto
Sym No.1 in c: III. Allegretto
Sym No.1 in c: IV. Finale: Allegretto

Tracks:

Sym No.2 in B flat, Op.4: I. Allegro Con Moto
Sym No.2 in B flat, Op.4: II. Poco Adagio
Sym No.2 in B flat, Op.4: III. Allegro Con Brio
Sym No.2 in B flat, Op.4: IV. Finale: Allegro Con Fuoco Alla Breve
My Home (Domov Mui) Ov, Op.62: Andante/Maestoso/Quasi Andante/Allegro Vivace

Tracks:

Sym No.3 in E flat, Op.10: I. Allegro Moderato
Sym No.3 in E flat, Op.10: II. Adagio Molto, Tempo Di Marcia
Sym No.3 in E flat, Op.10: III. Finale (Allegro Vivace)
Scherzo Capriccioso, Op.66
Carnival Ov, Op.92

Tracks:

Othello, Op.93: Ov
Sym No.4 in d, Op.13: I. Allegro
Sym No.4 in d, Op.13: II. Andante Sostenuto E Molto Cantabile
Sym No.4 in d, Op.13: III. Scherzo: Allegro Feroce
Sym No.4 in d, Op.13: IV. Finale: Allegro Con Brio

Tracks:

Czech Ste, Op.39: I. Allegro Moderato
Czech Ste, Op.39: II. Allegro Grazioso
Czech Ste, Op.39: III. Allegro Giusto
Czech Ste, Op.39: IV. Andante Con Moto
Czech Ste, Op.39: V. Presto
Sym No.5 in F, Op.76: I. Allegro Ma Non Troppo
Sym No.5 in F, Op.76: II. Andante Con Moto
Sym No.5 in F, Op.76: III. Scherzo: Allegro Scherzando
Sym No.5 in F, Op.76: IV. Finale: Allegro Molto

Tracks:

In Nature's Realm Ov, Op.91: Allegro, Ma Non Troppo
Sym No.6 in D, Op.60: I. Allegro Non Tanto
Sym No.6 in D, Op.60: II. Adagio
Sym No.6 in D, Op.60: III. Scherzo
Sym No.6 in D, Op.60: IV. Finale: Allegro Con Spirito

Tracks:

Sym No.7 in d, Op.70: I. Allegro Maestoso
Sym No.7 in d, Op.70: II. Poco Adagio
Sym No.7 in d, Op.70: III. Scherzo: Vivace
Sym No.7 in d, Op.70: IV. Finale: Allegro
Sym No.8 in G, Op.88: I. Allegro Maestoso
Sym No.8 in G, Op.88: II. Poco Adagio
Sym No.8 in G, Op.88: III. Scherzo: Vivace
Sym No.8 in G, Op.88: IV. Allegro Ma Non Troppo

Tracks:

American Ste, Op.98b: I. Andante Con Moto
American Ste, Op.98b: II. Allegro
American Ste, Op.98b: III. Moderato (Alla Polacca)
American Ste, Op.98b: IV. Andante
American Ste, Op.98b: V. Allegro
Sym No.9 in e, Op.95 'From The New World': I. Adagio - Allegro Molto
Sym No.9 in e, Op.95 'From The New World': II. Largo
Sym No.9 in e, Op.95 'From The New World': III. Scherzo (Molto Vivace)
Sym No.9 in e, Op.95 'From The New World': IV. Allegro Con Fuoco

Customer Reviews:

ambitious and comprehensive.......2007-01-26

I bought this set because I was looking for early Dvorak, which is surprisingly difficult to find. As a collection of such hard-to-find material, this set of recordings is fabulous. I am already enamored of the fourth, listening to it over and over. The more I listen to this set of CDs, the more I like it. The technical quality of the playing, though overall not quite up to the level of the top world-class orchestras, is nonetheless excellent and in many ways more authentic of Dvorak and his world -- plus there are some really strong performances especially on the woodwind side.

An astonishing bargain on the used market.......2006-07-29

I was listening to Libor Pesek's complete Dvorak symphonies, which unlike most is generously filled with miscellaneous tone poems, overtures, and suites. The Czech Phil. sounds like they are to the manner born, but technical execution is spotty--this is an orchestra to appreciate for its local color rather than virtuosity. Pesek has middle-of-the-road ideas about the symphonies. The thin recorded sound isn't ideal, but the tangy Czech woodwinds are miked very close, which is appealing. There's no single performance to rival the best on CD, but everything is quite agreeable.

Then I noticed that on the used market this whole set sells for under $10--bargain alert. One could easily live with thwese readings and enjoy them al the more at such a steal.

Hard to beat.......2002-11-23

This set is a compilation of Pesek's recording cycle for Virgin between 1987-1995.

As a set of the complete symphonies it competes with Gunzenhauser (Naxos), Kertesz (Decca), Kubelik (DG), Jaarvi (Chandos) and Rowicki (Philips) In the UK this set is the cheapest way to buy a complete Dvorak cycle (there is a compilation box from Brilliant slightly cheaper but has the performances split unsuccessfully between three conductors : Paavo Jarvi, Kosler and Menuhin). However, in reviewing the set I took no account of price because, quite simply this set stands up well against all of the above.

First a note on the works. Dvorak's early symphonies are rarely performed and until recently hard to find on record. They dont reflect the maturity of style and understanding of symphonic form that one associates with 7, 8 and 9 but amongst them there are some real gems that it is a pity to neglect. Most notable is how clear Dvorak's orchestral voice is right from the start. Apart from strong and very obvious early influences from Wagner, Brahms and Beethoven what one hears most are pre-echoes of orchestral techniques used more successfully in the later works. Listening to the symphonies chronologically one is aware of the gradual maturing of form with the occasional marked change in approach such as from 4 - 5 when Dvorak's friendship with Brahms has clearly had effect. Needless to say, all the symphonies are orchestrally rich, colourful and dynamic with passages of great excitement and moments of sublime beauty.

Pesek's cycle alternates between his two favorite orchestras, 1,3,7,8 & 9 performed with the Royal Liverpool Philharmonic (of whom he is currently conductor in residence) and 2,4, 5 & 6 the Czech Philharmonic (of whom he used to be conductor in residence). This alternation of orchestras adds an extra dimension to the cycle that I found quite refreshing. Pesek's approach has always been to let the orchestra have the freedom to express what he calls its "invisible spirit". "..you can hardly come to any orchestra and make them only play your way - it's a mutual exchange of experience..". Indeed this cycle gives one the chance to contrast the "invisible spirits" of the RLPO and CPO whilst still being aware of a unifying approach from Pesek.

The first 3 symphonies suffer perhaps from having too many ideas jostling for attention. It seems as if Dvorak is so excited with the infintie range of colours his orchestral paintbox can offer that he cant help but try out as many original and unusual scorings as possible. There are also many and frequent changes of dynamic, resulting in a kind of "crescendo-fatigue" Where Jaarvi tries hard to bring out an overall architecture that quite simply isnt there, Pesek, instead, revels in the many different textures and contrasting dynamics spotlighting certain passages for the inherent beauty they contain. I can think of no better approach for these early symphonies. With the fourth symphony however, Pesek now brings out the emerging sense of form as Dvorak reduces his orchestral palette in favour of more thematic development.

With Kertesz and Kubelik (and even the old Neumann on Supraphon) I was always aware of the shortcomings of the "middle" symphonies (5 & 6) feeling that they were "almost there but not quite". Under Pesek however, these symphonies exhibit a depth and maturity that gives me new respect. There is a relaxed confidence in his approach that makes us wonder why these works arent more played. There is much good music here and certainly I would put these particular performances at the top of my list.

When it comes to the "big three" (7, 8 and 9) there is so much competition in the catalogue that it would be impossible to pull out any one version and label it the best. Everyone has their own favorites (mine are Szell for 7, Kertesz for 8 and Barbirolli for 9). All I can say is the performances here are superb and cannot be criticised. Everything I look for in each performance Pesek has in spades. I may prefer Szell's third movement of the seventh or Barbirolli's opening to the ninth but this is countered by other aspects of the Pesek performances that are better in different ways. Most satisfying of all, having listened to Pesek guide me through the earlier symphonies, following his interpretation through into the last ones provides an insight and sense of completeness that any individual performance cannot achieve.

Finally a note on the recording. The CPO recordings (House of Artists, Prague) have slightly more ambience than the RLPO (Philharmonic Hall, Liverpool) which perhaps reinforces their "Czech" sound (memories of Supraphon!) but although the acoustic results in a slightly "fuller" sound it does not muddy the overall clarity of the excellent recording. The CPO recording of Symphony no 2 though was recorded in the Dvorak Hall, Prague and here there is slightly more reverberation. It's still within tolerable limits though. Overall the sound quality is excellent.

This is, all in all, great value for money and if the only Dvorak you know is the "New World" I suggest you go mad and buy this. You also get excellent performances of the Czech and American Suites, Othello, Wild Dove, My Home and Carnival Overtures and Scherzo Capriccioso thrown in as fillers!

Christopher Mohr: From the Realm of the Shadow
Average customer rating:

A Polyglot Creation

Amateurish, Juvenile Music At best

Throw everything together

Amateurish, pretentious

Potentially good, but falls flat

Christopher Mohr: From the Realm of the Shadow

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
ASIN: B00005A8A7
Release Date: 2001-03-20

Tracks:

Act One: Ov - Nat Orch Of Ukraine
Act One, Scene One: Separation
Act One, Scene One: Separation
Act One, Scene Two: The Rape
Act One, Scene Three: In Shock
Act One, Scene Four: Her Rejection
Act One, Scene Four: Her Rejection
Act One, Scene Five: The Dam Breaks
Act One, Scene Six: The Two Choruses
Act One, Scene Six: The Two Choruses
Act One, Scene Seven: In The Womb, Dance Of Incarnation; Birth
Act One, Scene Seven: In The Womb, Dance Of Incarnation; Birth
Act One, Scene Seven: In The Womb, Dance Of Incarnation; Birth
Act Two, Scene One: Dances With Angels
Act Two, Scene Two: At Play
Act Two, Scene Three: Hurt
Act Two, Scene Four: Camilla And Angela

Tracks:

Act Two, Scene Five: Love
Act Two, Scene Five: Love
Act Two, Scene Six: Alone
Act Two, Scene Six: Alone
Act Two, Scene Seven: Awakening
Act Two, Scene Seven: Awakening
Act Two, Scene Seven: Awakening
Act Three, Scene One: Out Of The Depths
Act Three, Scene One: Out Of The Depths
Act Three, Scene Two: The Healers
Act Three, Scene Two: The Healers
Act Three, Scene Three: Liberation
Act Three, Scene Three: Liberation
Act Three, Scene Four: Dances With Monkeys
Act Three, Scene Four: Dances With Monkeys
Act Three, Scene Four: Dances With Monkeys
Act Three, Scene Five: War
Act Three, Scene Siz: Matthew's Death
Act Three, Scene Seven: Repose
Act Three: Scene Seven: Repose
Act Three: Scene Seven: Repose

Customer Reviews:

A Polyglot Creation.......2005-11-03

Christopher Mohr's "From The Realm Of Shadow" is one of those multi-faceted works that draw from diverse cultural and musical idioms. In many ways it reminds me of Alice Shields' "Apocalypse: An Electronic Opera", a similarly all-encompassing opus. These are difficult works to judge from a conventional aesthetic as the 'rules' are largely thrown out of the window. How much you will empathize with "From The Realm Of Shadow" depends on how willing you are to accept music that borrows, pastiches and manipulates well-known (or not so well-known) external sources. It's a work that has an immediate visceral impact, followed by a sense of 'is-that-all?', followed again by a sense that maybe it is deeper than first appears. Its polyglot nature works against it - there is so much textural variation that overall coherence is strained. Strained but not broken. The subject matter - using ritual rape, birth and death as metaphors for the division and reconciliation of the human spirit - is strong stuff and anyone expecting a thoroughly weighty Wagnerian treatment is going to be very disappointed. But it's not fluff - it's just a very turn-of-the-20th/21st century way of looking at things. Whether that will ultimately hold up only time will tell.

Amateurish, Juvenile Music At best.......2002-11-19

Music composition, like playing an instrument, is an art that posesses a technique and a discipline to acheive mastery and control over the material at hand. Though there are some composers who were self taught and got on the right path, Mohr isn't one of them. This music is simplistic in conception, badly orchestrated,loosely held together, and reminds me of a lot of music I and other composers were writing as sophomores in college. Also, the CD is not mixed well and is poorly edited (if at all). The only merit this work has (and possibly the only reason this ever got recorded) is a fascinating story behind the piece that would undoubtedly sell a few copies to those who care to spend the money (BTW- don't spend the money, buy a milkshake or something instead). Why did you do this, NAXOS? Oh, why!!!

Throw everything together.......2002-07-20

Mohr wrote this work based on an experience he went through in college where he partook in a gang rape, but managed to get the girl out of their through his trickery before any damage was done.

The "kind-of-opera" has a white and a black chorus, who are obviously enemies, and an outcast of the white chorus who was raped by the black ones. Most of the opera is about the relationships between the three groups and after awhile the woman's son.

The music itself is a mix of about everything. There's music inspired from the cultures of China, Arabia, Africa, and South America. All of the vocals are simply ooos and aaah and monkey chants. I guess Mohr didn't want language to be a barrier at the main emotion.

It's kind of an either like it or hate it work as you can see from the mixed reviews this CD has been getting. But for 2 CDs it's worth the chance.

Amateurish, pretentious.......2001-09-03

When I saw this in the store I bought it on impulse. So many of the Naxos American Music series recordings, even of unheard of composers like Carter Pann, have been so good. When I opened it and saw that the composer is 'self-taught', I thought, 'Uh oh!'

And, I'm sorry to say, my initial skepticism was borne out. The scenario is pretentious in the extreme, undergirded by half-baked Jungian philosophy. The music itself is amateurish, poorly composed, poorly orchestrated, not terribly well performed.

I have a guess: it is conducted by Theodore Kuchar, an excellent conductor. He had premiered it with his Boulder, Colorado, orchestra, and and has now recorded it with the Ukraine National Symphony, of which he is also the conductor. He has made many recordings for Naxos and Marco Polo. I suspect he was allowed to record this twaddle as payback for his Herculean services to the those labels. Is Mohr is cousin or something? It must be something like that.

Sheesh.

Potentially good, but falls flat.......2001-06-04

When I saw this in the store, I thought it would be another quality recording from the American Classics label of Naxos. I couldn't wait to listen to it because the concept seemed so unusual and the orchestration was very interesting. I read along through the linear notes before I listened to a single note (something I normally don't do), and I was very intrigued and ready to be moved into the 'shadow' the Mohr was supposedly creating.

Then I started listening...

At first the music was very descriptive and I was being taken on the journey described by Mohr, but then during the second track, when the chorus comes in, I noticed digital artifacts everywhere! You will be familiar with these if you have a low quality mp3. When the music gets very high and loud, the sound get distorted and sounds very much like a bad digital recording. All the instruments seem to be in one place, and there seems to be a lack of any engineer at the mixing station. I have no idea how a recording like this could come out of Naxos, but it did. As I continued listening, the music went through its different scenes, and I realized this felt like a work that a student in a conservatory might write. The music is just very boring. Possibly if I saw the stage direction to go along with it, it would be more exciting.

The idea seems good, and could possibly work, but Mohr bites off a little more than he can chew musically, and fails to convey the emotion that he so longfully desires to express. What is more amazing is that, given the quality of this music, it took him 22 years to write it.