Antonín Dvořák
Classics Explained: DVORAK - Symphony No. 9, 'From the New World' (жанры:classical)

1. Dvorak, Beethoven, and the Scherzo. Dvorak purposely confuses the listener's expectations.
2. A quiet beginning: sorrow, syncopation, and sequence
3. Instrumental colour as a prime element: clarinets and bassoons, an outburst by the French horn
4. Using a little fanfare, Dvorak further builds up expectation before revealing the main theme.
5. The opening tune again, with different instrumental colouring: now flutes and oboes
6. When the theme is revealed, we find that it is not exactly a tune.
7. Two little bursts of rhythm provide the seeds from which much of the movement grows.
8. The first big surprise: strings, shattering drumbeats, shrieks from flutes, oboes, and clarinets
9. Cellos and basses take us into a new key while flutes and oboes dance in syncopation.
10. It is the second half of the theme that dominates.
11. Back to the beginning to hear the whole of this opening section
12. Horns, violas, and cellos introduce a new idea, soon to evolve into the main theme.
13. Without ever being remotely 'academic' or 'intellectual', there is much counterpoint going on here.
14. A tiny detail from the opening culminates in a wild drumming that heralds a major event
15. Introduction complete
16. Dvorak's very Czech love of combining conflicting rhythms, sometimes metres
17. A clearly transitional passage, obsessed with the rhythmic tag that both opens and closes the theme
18. A solo horn introduces the main theme, perkily answered by bassoons and horns.
19. The theme moves to G major; answering phrase from flutes, oboes, bassoons.
20. Sooner than we may have expected, we seem to have arrived at the Trio section.
21. Long crescendo, tremolo strings, back to tonic and biggest statement yet of the main theme.
22. A new kind of tone quality sheds a subtly different light on the theme.
23. The flutes and oboes now chime in with an answering variant of the opening...
24. Transition to the secondary theme through the use of sequence. Sonata form; satability and flux
25. Three-bar groupings and again the use of sequence, spelling out a chord
26. ...and the cellos and bassoons take up the original version of the theme.
27. The sequence continues to rise, and the four-bar phrase returns as the standard unit.
28. A false alarm: it was not the traditional Trio section at all, but rather part 2 of Scherzo proper
29. Soon, after a very rapid build, the Scherzo proper does reach its final phase.
30. The first violins start off the next phrase, but the melodic shape is more compact.
31. The violins fall silent; the violas and cellos answer with a new figure
32. The orchestral texture thins dramatically, and we approach what this time really is the Trio section.