About this Recording
8.223272 - DVORAK: Opera Overtures and Preludes
English 

Antonin Dvorak (1841 -1904) Opera Overtures and Preludes King and Charcoal Burner (Overture)

Antonín Dvorák (1841-1904)

Opera Overtures and Preludes

King and Charcoal Burner

(Overture)

 

The Jacobin, Op. 84

Prelude to Act I

Prelude to Act II

Ballet Music from Act III

 

Kate and the Devil, Op. 112

Overture

Prelude to Act II

Hell Dance from Act II

Prelude to Act III

 

Rusalka, Opus 114

Overture

Polonaise

 

Dimitrij, Opus 64

Overture

 

Armida, Opus 115

Overture

 

Antonín Dvorák was born in 1841, the son of a butcher and innkeeper in the village of Nelahozeves, near Kralupy, in Bohemia, some forty miles north of Prague. It was natural that he should follow the example of his father and grandfather by learning the family trade, and to this end he left school at the age of eleven. There is no reliable record of his competence in butchery, but his musical abilities were early apparent, and in 1853 he was sent to lodge with an uncle in Zlonice, where he continued an apprenticeship started at home, learning German and improving his knowledge of music, rudimentary skill in which he had already acquired at home and in the village band and church. Further study of German and of music at Kamenice, a town in northern Bohemia, led to his admission, in 1857, to the Prague Organ School, from which he graduated two years later.

 

In the years that followed, Dvorák earned his living as a viola-player in a band under the direction of Karel Komzak which was to form the nucleus of the Provisional Theatre Orchestra, established in 1862. Four years later Smetana was appointed conductor of the opera-house, where his Czech operas The Brandenburgers in Bohemia and The Bartered Bride were performed. It was not until 1871 that Dvorák resigned from the theatre orchestra, to devote more time to composition, as his music began to draw some favourable local attention. Two years later he married and early in 1874 became organist of the church of St. Adalbert. During this period he continued to support himself by private teaching, while busy on a series of compositions that gradually became known to a wider circle.

 

Further recognition came in 1875 with the award of a Ministry of Education stipendium by a committee in Vienna that included the critic Eduard Hanslick and Brahms. The following year Dvorák failed to win the award, but was successful in 1877. His fourth application brought the personal interest of Hanslick and Brahms and a connection with Simrock, the latter's publisher, who expressed a wish to publish the Moravian Duets and commissioned a set of Slavonic Dances for piano duet. These compositions won particular popularity. There were visits to Germany and to England, where he was always received with greater enthusiasm than a Czech composer would ever at that time have won in Vienna. The series of compositions that followed secured him an unassailable position in Czech music and a place of honour in the large world.

 

Early in 1891 Dvorák became professor of composition at Prague Conservatory. In the summer of the same year he was invited to become director of the National Conservatory of Music in New York, a venture which, it was hoped, would lay the foundations for American national music. The very Bohemian musical results of Dvorák's time in America are well known. Here he wrote his Ninth Symphony, From the New World, its themes influenced, at least, by what he had heard of indigenous American Indian and Negro music, his American Quartet and a charming sonatina for violin and piano. In 1893 he returned home to his work at the Prague Conservatory, writing in the following year a series of symphonic poems and before the end of the century two more operas, to add to the nine he had already composed. He died in Prague in 1904.

 

Dvorák is not generally thought of as a composer of opera. While his chamber and orchestral music has wide international currency, his operas have not travelled so well, or, in some cases, at all. Nevertheless he was closely involved with the development of a form inextricably associated with the rise of Czech nationalism. From 1862, the year of its opening, he was employed as principal viola in the Czech Provisional Theatre, where it was hoped to foster national Czech opera, while his wife, formerly his pupil, was a singer and member of the opera chorus. Smetana, the most significant composer of Czech opera before Dvorák, was appointed principal conductor in 1866, and exercised an obvious influence. For the opening of the theatre no Czech opera of sufficient quality could be found and the choice fell on Cherubini's Les deux journées. It was not until 1866 that Smetana's The Brandenburgers in Bohemia, awarded first prize in a national opera competition established in 1861, was performed. Dvorák's addition to the national operatic repertoire was a natural response to the circumstances of his own life and to the demands and possibilities of the time. Something of the relative lack of attention accorded his operas must be attributed to the language of the libretti and the timidity of foreign opera-houses, coupled with a suspicion that they may simply be too Czech for export.

 

Dvorák's first attempt at opera was with a German libretto by Theodor Korner, Alfred, on the subject of Alfred the Great and his struggle against the Danes, a topic of some oblique national relevance in Bohemia. The opera was written in 1870 and received its first performance in 1938, although the overture seemed at one time about to receive a hearing, under the title Tragic Overture.

 

1871 brought Dvorák's first attempt at a Czech opera with the work known in English as King and Charcoal Burner, to a libretto by Bernhard Guldener, based on an old puppet play. The story concerns the visit of the king, unrecognised and lost in the forest, to the charcoal-burner's house and the consequent jealousy of the lover of the charcoal-burner's daughter, a feeling dispelled by the king's invitation to visit him in his palace, where the fortunes of all are made. The opera was put into rehearsal in its first form in 1873, but withdrawn after the complaints of singers and orchestral players. In 1874 Dvorák completely rewrote the piece, following the model of Weber and Lortzing rather than Wagner, whose influence on him was waning. In this form it was given four performances at the Provisional Theatre towards the end of the year. He made additions and revisions for performances in 1881 and revised still further the libretto and music of Act III for performances in the summer of 1887.

 

Dvorák followed the second version of King and Charcoal Burner with immediate work on a second Czech opera, The Stubborn Lovers, completed just before Christmas in 1874. The one-act village comedy was not performed until 1881, when it failed to please and was withdrawn. The following year the composer turned his attention to a more ambitious project, the five-act grand opera Vanda on a story of obvious patriotic appeal. The work was given four performances in 1876 and underwent later revision. The Cunning Peasant, a two-act comic opera written in 1877, was more successful and there were additional performances in German opera-houses and in Vienna in the following years.

 

The opera Dimitrij is based on historical events the prelude to which, at least, is generally familiar from Mussorgsky's Boris Godunov, a work unknown at the time to Dvorák. Here the composer had a competent libretto by a writer of some contemporary distinction, Marie Cervinková-Riegrová. His first sketches were completed in 1881, and scoring was ready for performance in October 1882, when the piece won some success. It was later to suffer various revisions in elements of the plot and, in 1894 and 1895, more substantial reworking on Wagnerian lines. The story concerns the Russian usurper Dimitrij, proclaimed Tsar, and his love for Xenia, only surviving child of Boris Godunov, and consequent complications in his relationship with his wife, the Polish Princess Marina, who denounces her husband as a false pretender to the throne and brings about his death.

 

The Jacobin, with a libretto again by Marie Cervinková, finds Dvorák nearer home again, although he had hesitated to compose such a work, expressing a preference for something like Carmen, while tempted momentarily by suggestions that he should write a German opera for Vienna. After some delay, he completed the piece in November 1888 and it was staged successfully early the following year. There were again revisions to libretto and music, the final version appearing in 1898. The story concerns the plotting of the count's disgraced son, the Jacobin of the title, a young man of revolutionary ideals, who has been sent away by his father and has married. The young man comes back to find a cousin trying to usurp his place and with the help of the old music-master, Benda, a character in which it is supposed Dvorák recalled his old teacher in Zlonice, regains his true position as heir to his beloved father. There is a lively and idiomatic introduction to the opera, which leads to a characteristic scene set in Bohemia, with an inn on one side and the church opposite, as Bohuš and his wife Julie return. The second act introduces a strongly lyrical element, while the ballet music for Act III has been regarded by some critics as otiose, whatever its charm.

 

Kate and the Devil was written in 1898 and 1899, using a libretto by Adolf Wenig, based on a folk-tale. The unlikely heroine is a talkative spinster, who succeeds in intimidating the devil Marbuel, who appears when Kate can find no dancing-partner and offers to dance with the Devil himself, should he appear. The couple dance and dance, and eventually disappear down a hole into Hell. Lucifer has sent Marbuel to look into the tyrannical behaviour of the lady of the village, whose dismissed shepherd follows to bring Kate back. In Hell, where Kate is proving troublesome, Lucifer is happy enough that the young man should take Kate away and that his former employer should be punished, but Kate sees gold and is unwilling to leave, until the young man dances her back to the world again. All ends happily enough in the third act with the repentance of the lady of the manor, the rewarding of the young shepherd and the victory of Kate over Marbuel, who flees from her in terror. The opera was first performed in Prague in 1899 and won the composer a prize of 2000 Kronen from the Czech Academy of Sciences and Arts.

 

Rusalka, based largely on de la Motte Fouqué's Undine, uses a new Czech libretto by Jaroslav Kvapil and is described as a three-act lyric fairy-tale. Dvorák completed the piece towards the end of November, 1900, and it was performed with considerable success at the end of March the following year. The story concerns a water-spirit, who, like Undine, falls in love with a mortal prince, with consequent and predictable complications, as the prince's attentions wander towards a Polish princess, whom he marries. His later repentance leads to his death in the arms of his beloved Rusalka.

 

Dvorák's last opera and last composition was the opera Armida, using the story from Tasso's Gerusalemme Liberata that is familiar in so many other operatic settings from Lully and Handel to Gluck, Salieri and Haydn. The Czech libretto was by Jaroslav Vochlicku and had already been rejected by two or three other composers. He completed the work in August, 1903, after some eighteen months' work, and it was poorly staged in Prague in March, 1904, achieving no par1icular success, although it was given seven performances. Tasso's story is changed to allow further magic intrusion from a Syrian prince, with the destruction of Armida's magic garden, its restoration and subsequent destruction once more. Whatever dramatic deficiencies may lie in this version of the tale, Dvorák's music, a bid, perhaps, for acceptance as an international composer of opera, has many felicities.

 

Dvorák suffered the first signs of approaching illness during rehearsals for Armida. The ineffectiveness of the dress rehearsal, when the principal tenor was indisposed and the conductor apparently insensitive, caused him particular annoyance. At the postponed first performance on 28th March, 1904, he felt unwell and left the theatre early. His indisposition continued with only brief interruption until his death on 1st May.

 

CSSR State Philharmonic Orchestra (Košice)

The East Slovakian town of Košice boasts a long and distinguished musical tradition, as part of a province that once provided Vienna with musicians. The State Philharmonic Orchestra is of relatively recent origin and was established in 1968 under the conductor Bystrik Rezucha. Subsequent principal conductors have included Stanislav Macura and Ladislav Slovák, the latter succeeded in 1985 by his pupil Richard Zimmer. The orchestra has toured widely in Eastern and Western Europe and plays an important part in the Košice Musical Spring and the Košice International Organ Festival.

 

Robert Stankovsky

Robert Stankovsky was born in Bratislava, the capital of Slovakia, in 1964, and after a childhood spent in the study of the piano, recorder, oboe and clarinet, turned his attention, at the age of fourteen, to conducting, graduating in this and in piano at the Bratislava Conservatory with the title of best graduate of the year. In spite of his youth Stankovsky has had considerable experience as a conductor with the major orchestras of Slovakia, including the Slovak Philharmonic Orchestra, the Capella Istropolitana, the Bratislava Radio Symphony Orchestra, as well as the Central Bohemian Symphony Orchestra, the Košice State Philharmonic Orchestra and others. He has conducted in East and West Germany, in Hungary, Russia, Austria, the Netherlands, Spain and in the United States of America and is at the moment conductor of the Czechslovak Radio Symphony Orchestra, Bratislava, and of the Košice State Philharmonic Orchestra. He has made recordings with the Ukrainian Radio Orchestra in Kiev and since November, 1988, has been permanent guest conductor of the Leipzig Grosses Rundfunk Orchestra. Stankovsky is regarded as one of the best conductors of the younger generation in Czechoslovakia.

 


Close the window