Dvorak: Slavonic Dances Iván Fischer & Budapest Festival Orchestra

• 8 Slavonic Dances, Op.46
• 1 No.1 in C (Presto) 04:10
• 2 No.2 in E minor (Allegretto scherzando) 04:51
• 3 No.3 in A flat (Poco allegro) 03:55
• 4 No.4 in F (Tempo di minuetto) 06:10
• 5 No.5 in A (Allegro vivace) 03:19
• 6 No.6 in D (Allegretto scherzando) 05:01
• 7 No.7 in C minor (Allegro assai) 03:28
• 8 No.8 in G minor (Presto) 04:20
• 8 Slavonic Dances, Op.72
• 9 No.1 in B (Molto vivace) 04:18
• 10 No.2 in E minor (Allegretto grazioso) 06:07
• 11 No.3 in F (Allegro) 03:29
• 12 No.4 in D flat (Allegretto grazioso) 04:49
• 13 No.5 in B flat minor (Poco adagio) 02:45
• 14 No.6 in B flat (Moderato, quasi minuetto) 03:37
• 15 No.7 in C (Allegro vivace) 03:17
• 16 No.8 in A flat (Lento grazioso, ma non troppo, quasi tempo di valse) 06:44
• Total Runtime 01:10:20

Info zu Dvorak: Slavonic Dances

The Hungarian conductor Iván Fischer is a hero to many in his native land. The partnership he forged with the Budapest Festival Orchestra has proven to be one of the greatest success stories in the past 25 years of classical music. Fischer introduced several reforms developing intense rehearsal methods for the musicians, emphasizing chamber music and creative study for each orchestra member. With touring, festivals and recordings, he has put the group on the international map. His recordings of the works of Bartók, Kubelik and Dvorák have garnered critical attention.

The first set of eight Slavonic Dances, Op. 46, were the first 'exotic' compositions by Dvorák to achieve recognition outside of his Czech homeland. Dvorák, who owed much to Brahms as his champion, had used his mentor's own 'Hungarian Dances' as a model. Whereas Brahms used actual Hungarian melodies, Dvorák only made use of the characteristic rhythms of Slavic folk music. They were trumpeted and predicted to make their way around the world within a year of their composition; they did with performances in London and Boston. Within two years, Dvorák's publisher, who had made a fortune with the first set, naturally asked for a second. Nervous and worried they wouldn't repeat the earlier success, Dvorák held off another five years before delivering the second set, Op. 72. Both sets have become as much a national monument for the Czech nation as Smetana's 'Má vlast.' They are literally dance movements incorporating not only Czech but also Slovak, Polish, Serbian and Russian elements as well as the dumka literally 'a small bit of melancholy' and one of Dvorák's favorite musical forms. Both sets of eight dances each are stylized, if not idealized, dance fantasies intermingling folk elements with Dvorák's own melodies. Effective, lovely, joyous and impressive, Fischer and his merry band perform them with a compelling spirit, making them irresistibly entertaining. (J. Maxwell Fletcher)

Budapest Festival Orchestra
Iván Fischer, conductor


Executive Producer: Clive Bennett
Recording Producer/Balance Engineer: Hein Dekker
Recording Engineers: Jean-Marie Geijsen, Roger de Schot
Recorded at The Italian Institue, Budapest, March & May, 1999

Iván Fischer - Conductor
Born into a musical family which includes his brother, the conductor Adam Fischer, Iván Fischer studied the piano, violin and cello at the Béla Bartók Conservatory in Budapest. Between 1971 and 1974 he was a conducting pupil of Hans Swarowsky in Vienna and also worked with Nikolaus Harnoncourt on period performance practice in Salzburg during 1975. Although he had previously been a prizewinner at the Florence Conducting Competition in 1974, Fischer’s professional conducting career was effectively launched when he won the Rupert Foundation Conducting Competition in London in 1976.

He was soon invited to direct the Royal Philharmonic Orchestra in London and to conduct at the Zürich Opera. In 1979 he was appointed chief conductor of the Northern Sinfonia of England, a post that he held until 1982, and the following year he founded the Budapest Festival Orchestra. This drew together many of the best orchestral musicians in Hungary and enjoyed unusually extended rehearsal periods; within a few years it developed a reputation as one of Hungary’s finest orchestras and was invited to play at major festivals and concert halls throughout Europe and America. In addition, from 1984 until 1989, Iván Fischer was chief conductor of Kent Opera, leaving only when the company’s funding was terminated by the Arts Council of England and it had to cease operations.

From 1989 to 1996 Fischer was principal guest conductor of the Cincinnati Symphony Orchestra, and from 2000 to 2003 the chief conductor of the Lyons Opera. Alongside his permanent appointments he has been a frequent guest conductor of many major orchestras, such as the Berlin Philharmonic, Munich Philharmonic, Royal Concertgebouw, and Israel Philharmonic, as well as the Orchestre de Paris, the Chamber Orchestra of Europe and the Orchestra of the Age of Enlightenment. He has conducted opera in London, Paris, Brussels, Zürich, Frankfurt and Budapest as well as a series of Mozart productions with the Vienna State Opera. He received the Kossuth Prize, Hungary’s leading arts award, in 2006, the same year in which he was appointed principal guest conductor of the National Symphony Orchestra of Washington and a principal artist of the Orchestra of the Age of Enlightenment.

In 1995, the Budapest Festival Orchestra signed an exclusive recording contract with Philips/Universal, which resulted in recordings of several of the major stage and orchestral works of Bartók as well as of music by Kodály, Liszt and Dvořák. Fischer has stated that he feels especially close to central European composers such as Bach, Mozart, Brahms, Dvořák, Mahler and Bartók, and his connection with several of these stretches beyond the concert hall: together with the composer’s granddaughter, he was a founder of the Hungarian Mahler Society and he is the patron of the British Kodály Academy. Among the best of the numerous recordings which he has made with the Budapest Festival Orchestra are dynamic accounts of Bartók’s ballet scores The Wooden Prince and The Miraculous Mandarin, Liszt’s Faust Symphony, and Kodály’s Háry János Suite and Dances of Galánta. The orchestra’s recording of Brahms’s Hungarian Dances included a number of new orchestrations by Fischer himself.

Budapest Festival Orchestra
In less than 30 years the Budapest Festival Orchestra – founded in 1983 by Iván Fischer and Zoltán Kocsis – has established itself as one of the ten leading orchestras of the world. It is loved by audiences and praised by international critics for its intensive and emotionally gripping performances, for its chamber music-like attention to detail and for its exceptional ability to share the joy of music with listeners. Although the BFO regularly appears in the world’s most important music venues, the orchestra’s activities are based around a highly popular series of concerts in Hungary with more than 40 orchestral performances in Budapest and regular visits to other Hungarian towns and cities.

The BFO is the strategic partner of the Palace of Arts in Budapest; together they organise the Budapest Mahlerfest (launched by Iván Fischer in 2005) every September, the single-composer “marathon” with eleven concerts each February, and a staged opera production directed and conducted by Iván Fischer. The latest opera production, Mozart’s Don Giovanni, was enthusiastically received at the Mostly Mozart Festival in New York.

Music director Iván Fischer has introduced a number of innovative initiatives. Besides the orchestral concerts and a chamber-music series the orchestra hosts a baroque ensemble playing on original instruments, and a contemporary ensemble performing new music. Orchestra members chosen in the biannual Sándor Végh competition perform concertos as soloists in the Haydn-Mozart Plus concerts conducted by the BFO’s new Principal Guest Conductor, Gábor Takács-Nagy.

The BFO lays a strong emphasis on educational activities. The very successful Cocoa Concerts are designed for small children, while the Midnight concerts attract older teenagers and those in their early twenties. The BFO collaborates with the network of Hungarian Music Schools in regular talent searches, and streams its orchestra rehearsals on the internet for educational purposes.

Numerous outstanding artists like Sir Georg Solti (the orchestra’s Principal Guest Conductor until he passed away), Yehudi Menuhin, Pinchas Zukerman, Gidon Kremer, Radu Lupu, Sándor Végh, András Schiff and Richard Goode have all performed with the BFO in recent decades.

The Budapest Festival Orchestra is an independent foundation set up in 1992. The activities of the BFO are supported by the Hungarian Ministry of National Resources and the Budapest City Council. Iván Fischer has been the orchestra’s Music Director in the 29 years since it was founded.

Dieses Album enthält kein Booklet