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Unusually, Antonín Dvorák’s String Sextet op. 48 was recorded using ten modern microphones from TACET’s collection of tube microphones, and not a single historical one. However, these new microphones have a great deal in common with the 'old' ones, as a glance at the history of the manufacturer shows ...
The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.
Of some performers and listeners alike they are in general agreement that the Dvorak Concerto belongs in the very front rank - many say at the top of the list.
It is a sort of musical compliment to Bruch's long devotion to folk music that what is considered on of his most representative works should have sprung from an alien tradition.
The Cello Concerto is significantly placed in Dvorak's output; it represents the last of his three solo concertos and at the same time the last work which the composer produced during his three-year stay in America as Director of the National Conservatory in New York.
Dvork's long experience with classical forms finds its culmination in his final symphony, whose first performance took place in New York in 1893. The .
Another beauty from the Wilkinson / Monteux / Kingsway Hall combination.
Dvorak himself is reported to have said that in this symphony he wanted to write a work with individual ideas worked out in a new way. He succeeded in doing this.