9 Symphony Dvorak Phone Ringtone

1. Dvorak Symphony 9 Youtube

October 1, 1988, Page 001011 The New York Times ArchivesThose who heard Yo-Yo Ma play the Dvorak Cello Concerto with the Boston Symphony at Tanglewood a few months ago would have found an interesting comparison in Thursday's New York Philharmonic performance at Avery Fisher Hall. The performance at Tanglewood had the same deeply moving impulses but without the hurtling, breakneck enthusiasm that on Thursday almost extinguished the music with its passion. So strong is Mr. Ma's technique and so genuine his feelings that we never experience vulgarity. If there is excess - and here I believe there was - the listener is still charmed by a musician with so much sincerity to give.Thursday's performance had its own beauties, but one missed some of the others, namely the kind of relaxed and reflective tone that can temper and eventually strengthen the strong feeling around it. Indeed, one longed for a little relief from the urgency, an occasional coolness to mitigate the heat. Ma's emotional outpourings appealed to his Philharmonic audience for excellent reasons, but I do not think that Dvorak survives such unrelenting ardor.

More feeling may not always be better feeling.The solo playing took its tone, perhaps, from its surroundings. Under Zubin Mehta, the Philharmonic made Dvorak's expansive, unhurried music into a triumph of busy high-tech. This was power and energy exerted with splendid precision - Mr. Mehta's direction radiating muscular energy and maintaining it with impressive control. None of Dvorak's soft, green landscapes here; more an impression of soaring steel girders and concrete. Symbolic of this performance was the first movement's famous horn solo. Philip Myers created out of it a wonder of warm, rounded, well-tuned sound, yet one was reminded of those red Delicious apples that look magnificent in the grocery store but yield little taste to the bite.The other music on Thursday was Mahler's First Symphony.

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It, too, was executed with awesome virtuosity. Wind choirs were exquisitely tuned, the pianissimos delicately balanced; Mr. Mehta also organized with great skill the give-and-take of tempo in waltz-like sequences. Indeed, one deeply admired this performance's brilliance and yet was only occasionally touched by it. The loveliest impressions - the fading close to the Feierlich und gemessen movement, for example - were simply obliterated by the shattering explosions of sound around them. Mehta seems to luxuriate in visceral loudness, but no matter how well focused, one wonders how valuable a musical tool it really is.The Mahler First went through a number of revisions. An early casualty was the 'Blumine' movement, which the composer removed from its place between the first two sections.

The Philharmonic has chosen to reinsert it, and it is a decision one can argue against. With each reworking, the remaining four movements grew in size and instrumental color. The 'Blumine' did not, making its chaste trumpet solos and overall simplicity seem a little out of place amid all the extravagance. Benjamin Britten had the right idea in 1967 when he performed Mahler's deleted music by itself.

But in any format there is a tinge of necrophilia at work, one by which the dead and their wishes lie defenseless. Mahler's first thoughts are food for the curious, but maybe we should protect his final ones.

Dvorak Symphony 9 Youtube

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