Artist: Berliner Philharmoniker, Sir Simon Rattle
Album: Dvořák: Tone Poems. The Golden Spinning-Wheel, The Wood Dove, The Noon Witch & The Water Goblin
Genre: Classical
Release Date: 2005/2023
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 01:23:46
Total Tracks: 15
Total Size: 704 MB

Tracklist:

1-1. Sir Simon Rattle – The Golden Spinning Wheel, Op. 109, B. 197: I. Allegro, ma non troppo (08:35)
1-2. Sir Simon Rattle – The Golden Spinning Wheel, Op. 109, B. 197: II. Molto vivace (06:40)
1-3. Sir Simon Rattle – The Golden Spinning Wheel, Op. 109, B. 197: III. Lento (06:24)
1-4. Sir Simon Rattle – The Golden Spinning Wheel, Op. 109, B. 197: IV. Allegro, ma non troppo (06:18)
1-5. Sir Simon Rattle – The Wild Dove, Op. 110, B. 198: I. Andante. Marcia funebre (05:21)
1-6. Sir Simon Rattle – The Wild Dove, Op. 110, B. 198: II. Allegro (02:55)
1-7. Sir Simon Rattle – The Wild Dove, Op. 110, B. 198: III. Molto vivace (05:37)
1-8. Sir Simon Rattle – The Wild Dove, Op. 110, B. 198: IV. Andante (06:55)
1-9. Sir Simon Rattle – The Noon Witch, Op. 108, B. 196: I. Allegretto (05:35)
1-10. Sir Simon Rattle – The Noon Witch, Op. 108, B. 196: II. Andante sostenuto e molto tranquillo (05:19)
1-11. Sir Simon Rattle – The Noon Witch, Op. 108, B. 196: III. Andante (02:44)
1-12. Sir Simon Rattle – The Water Goblin, Op. 107, B. 195: I. Allegro vivo (07:00)
1-13. Sir Simon Rattle – The Water Goblin, Op. 107, B. 195: II. Andante mesto come prima (04:53)
1-14. Sir Simon Rattle – The Water Goblin, Op. 107, B. 195: III. Un poco più mosso (04:29)
1-15. Sir Simon Rattle – The Water Goblin, Op. 107, B. 195: IV. Allegro vivace (04:55)

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These orchestral ballads, directly programmatic and inspired by verbal rather than purely musical stimuli, represent something of a change of direction for Dvořák, away from the Viennese classicism of his idol Brahms and his circle towards a freer, more operatically influenced orchestral style closer to that of Liszt and Smetana. This was deplored by many of Dvořák’s more classically inclined admirers such as Eduard Hanslick, who wrote that ‘with this detailed programmatic music Dvořák has stepped on a slippery slope’. More significant, though, was the positive influence these works were to exert on such younger Czech composers as Suk, Novák, Foerster and above all Janácˇek, whose music often reflects the rhythms and intonation of the Czech language, continuing Dvořák’s pioneering practice in The Golden Spinning-Wheel.