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"Dad's God was not the God of Vengeance but the Creator, who sanctifies the journey through the 'valley of death' through his infinite love", is how Antonín Dvorak's sincere piety was recalled by his son Otakar. Faith in God was for Dvorak the cornerstone on which he built his own life and work, hence it comes as no surprise that a number of his seminal pieces are within the domain of sacred music, and frequently linked with a strong personal story. The first version of the oratorio Stabat Mater came into being after the death of his first-born daughter. In the wake of the triumph of its London premiere, Dvorak received more commissions from the UK, which gave rise to other paramount compositions: The Spectre's Bride, Requiem and Saint Ludmila. The instigation for the Te Deum came from New York, where following the premiere of the 'New World Symphony' Dvorak wrote the Biblical Songs, the apex of his oeuvre of this genre. The set also contains pieces that have been seldom performed (the cantata The Heirs of the White Mountain, Psalm 149 in the previously unreleased recording made by the conductor Vaclav Neumann, etc.). At the same time, this new collection within the Dvorak series showcases superlative artists, and the listeners will undoubtedly also be pleased by the sensitively remastered sound of the recordings. These are gems from the Supraphon archive. |
Dvorak: Ave Maria, Op. 19b Ave maris stella Biblical Songs (10), Op. 99 Hymnus ad laudes in festo SS. Trinitatis Mass in D major, Op.86 (B175) O sanctissima, Op. 19a Psalm 149 Op. 79 (B.154) Requiem, Op. 89 Saint Ludmila Stabat Mater, Op. 58 Te Deum, Op.103, B.176 The Heirs of the White Mountain, Op. 30, B134 Svatební Kosile, Op. 69 |
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