Dvorak: Serenade for Strings in E major, Op. 22

In 1960, the Stuttgart-born conductor Karl Münchinger (1915-1990), made a Decca recording of Pachelbel’s Canon and Gigue that assured the piece its immortality in years to come. Münchinger recorded extensively for Decca with his Stuttgarter Kammerorchester (Stuttgart Chamber Orchestra). Moderate-size forces, rhythmic sprightliness and judicious ornamentation were the hallmarks of his recordings of 17th and 18th-century repertoire, and their general airiness also informs his readings of the Serenades on this anthology. The Dvorak, Suk and Wolf recordings date from the 1970s, whereas the Grieg, which he only recorded once, and has been on many “reissue request” lists, dates from 1956. This generous CD, released to commemorate the 20th anniversary of his death and nearly 80 minutes long, is comprised entirely of first international CD releases.

Amsterdam Sinfonietta has combined a romantic masterpiece of the string orchestra repertoire with two wild compositions from the inter-war period. Dvorák, Haas, and Schulhoff hardly make a conventional mixture, but all three of these composers had their roots in a region which was known for many centuries as “Bohemia.” One can hear this common ground in the rhythmic diversity, the influence of folk music, and the melodic inventiveness that characterizes their music.

Amsterdam Sinfonietta occupies a unique position on the Dutch music scene as professional string orchestra. It is regularly invited to perform in concert halls throughout the world as one of the very few large-scale string ensembles on the international scene. What sets Amsterdam Sinfonietta apart from the ‘regular’ chamber orchestras is the top priority it gives to a ‘chamber music mentality’. Every one of its musicians assumes the responsibilities of a solo player. This approach gives a high level of involvement on the part of the musicians when they perform as an ensemble, resulting in performances of rare dynamism and intensity that involve the listener in a vibrant live music experience. Usually the ensemble plays without conductor under the direction of Candida Thompson, concertmaster since 1995, who was appointed artistic director in 2003.

The Amsterdam Sinfonietta’s Walton/Beethoven disc CCSSA23005 was a Gramophone Editor’s Choice in 2005.

Two of Dvorak's sunniest inspirations on CD together. The rare recording of the Violin Concerto with German violinist Edith Peinemann is once more made available, and Kubelik's recording of the Serenade was always one of the most highly recommended.

For their fourth Fuga Libera-project, the Russian orchestra Musica Viva recorded one very famous, and one forgotten piece by Antonín Dvorak. The well-known piece is the Serenade for Strings in E major, written by Dvorak in 1875. It is believed that Dvorak took up this small orchestral genre because it was less demanding than the symphony, but allowed for the provision of pleasure and entertainment. The other piece is the Cello Concerto in A major. Unlike its brother, the B minor Concerto Op. 104, this concerto has been more than overlooked. It was left un-orchestrated by Dvorak, existing only in piano-score form. It was only after his death that a few composers orchestrated this dazzling piece of music. Cello virtuoso Alexander Rudin, and Musica Viva let us taste from this magnificent forgotten treasure…

Dvorák, like Bruckner was a devout Catholic. However, unlike Bruckner Dvorák did not have to compose religious music for church occasions. And, unlike the turbulent life led by the catholic convert Mahler, his life was one of domestic stability and happiness – if occasionally afflicted by periods of terrible grief and loss. It was the death of his daughter in 1876 (she was just two days old) that co-incided with the composition of the Stabat Mater. The text dating from the 13th century depicts Mary at the foot of the Cross, mourning her son. Dvorák worked on the score for several years, during which all Dvorák’s remaining children tragically died. Otaker aged 3, and his other daughter Ruzena aged just 1 year. The Stabat Mater displays Dvorák’s knowledge of the oratorios of both Handel and Mendelssohn, and the work met with success at home and in the UK where he conducted the British premiere in 1883.

The Serenade Op.22 for strings is one of his most popular works, and dates from 1875. The work is full of dance rhythms and in the slower movements an introverted passion with a melancholic character. The long melodic lines show that no matter how hard Dvorák tried to shake off the influence of Wagner (his Third and Fourth Symphonies are heavily Wagnerian in places) the Bayreuth master still cast his shadow over the mature Dvorák.

New booklet notes and sung texts.

Leopold Stokowski was born plain Leo Stokes in the East End of London in 1882, and became one of the 20th century’s greatest conductors. He had a huge personality and an eye for the ladies – it was said that his accent moved further east (Russia) the further west (US) he travelled, and it always ensured that he was surrounded by glamorous female admirers: his second wife (of three) was the heiress and designer Gloria Vanderbilt.

He was an outstanding musician, studying at the Royal College of Music, Paris Conservatoire, Munich Conservatory, and was a superb organist, with positions in London and New York. In London in 1905 he was sponsored by Sir Henry Wood, and soon had his own orchestra, the new Cincinnati Symphony. After three years he had the top job at the Philadelphia Orchestra. His musical interests were wide – from movies (he acted in two films), where he brilliantly selected and adapted Bach, Dukas, Beethoven and Stravinsky to Walt Disney’s cartoon masterpiece Fantasia, to working with composers such as Berg, Rachmaninov, Schoenberg, Sibelius, Vaughan Williams and Ives. Charles Ives’s notoriously complex Fourth Symphony received its premiere in 1965 under the baton of an 83-year-old Stokowski.

This recording captures the magic of the Stokowski sound, his meticulous attention to detail, and his skill as an arranger. The Tallis Fantasia was a work he championed from 1926, and his support for the composer continued up to RVW’s death in 1958 with the American premiere of the Ninth Symphony. The Dvorák Serenade on this CD was Stokowski’s first recording (at the age of 93) of the work.

‘Stokowski’s concern for tonal balance brings some radiantly beautiful effects… the RPO strings play most beautifully with rich, ripe tone…As to the sound, this is one of the most resplendent Stokowski records we have had from his last Indian Summer in the studio’ Edward Greenfield, Gramophone

This specially priced 2CD re-issue is devoted to the music of Antonin Dvorak. The works featured are his two most popular Symphonies, No. 9 “New World”, perfomed by the Cincinnati Symphony Orchestra and Paavo Jarvi, and No 8, which along with the Scherzo Capriccioso and Notturno for Strings is played by the Los Angles Philharmonic and Andre Previn. The Serenade for Strings is performed by the Rotterdam Chamber Orchestra with the conductor Conrad van Alphen.

"Though there are many highly recommendable versions of this much-recorded work, this one is a strong candidate in every way." The Gramophone on Symphony No. 9.