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Antonin Dvorak - Symphony No. 5 in F Major Op. 76 (1875)

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Uploaded by on Sep 25, 2011

Symphony No. 5 by Antonin Dvorak. Conducted by Julian Kovatchev with the Orchestra of Teatro Giuseppe Verdi Trieste.

I. Allegro - Ma Non Troppo - 00:00
II. Andante Con Moto - 9:47
III. Allegro Scherzando - 17:46
IV. Finale - Allegro Molto - 25:30

The Symphony No.5 in F major, Opus 76, was written in 1875, revised in 1877, and dedicated to Liszt's son-in-Iaw, the conductor Hans von Bülow. Dvořák revised the work again in 1887 and it was first published with its present opus number, although the composer insisted that it was in fact his Opus 24, composed a decade before his Sixth and Seventh, published by Simrock as Opus 60 and Opus 70 in 1882 and 1885 respectively. While Dvořák might attempt to outwit Simrock by giving newer works earlier opus numbers, avoiding his obligation to the publisher, the latter could outwit the public by offering higher opus numbers, arguing greater experience and novelty from the composer.

The F major Symphony is scored for the usual pairs of woodwind instruments, four horns, two trumpets, three trombones, timpani, triangle and strings, with the one less usual addition of a bass clarinet. The first theme, introduced by the clarinets, quickly leads to something more energetic and grandiose, in a movement that combines characteristically Bohemian turns of melody and harmonic colours with traditional symphonic form.

The slow movement, with its opening cello theme, accompanied by the lower strings, moves from A minor into what seems at first to be A major, in music that has a characteristic ambivalence of mode. It is followed by a lively B flat major scherzo, introduced rhetorically by the cello, before the principal theme is heard. The trio section, in D flat, is followed by are, petition of the scherzo, without alteration.

The closing movement of the symphony starts with a strongly marked theme that skilfully and unusually avoids the key of F major for a considerable time, while the second theme, that conventionally might have appeared in the key of C major, is in G flat. The bass clarinet makes its appearance as the stormy central development section relaxes, and the movement goes on to a brief recollection of the first movement, eventually entrusted to the trombone.

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  • beautiful music, and btw, nice picture, what's it's name and painter?

  • Beautiful.

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