Stuttgarter Philharmoniker - ABO Terzett #3

WEBER | RAKOV | DVOŘÁK performed by Linus Roth and the Stuttgart Philharmonic Orchestra under the direction of Julio García Vico

WEBER Overture to the opera "Der Freischütz"
RAKOV Violin Concerto No. 1 in E minor DVOŘÁK Symphony No. 9 "From the New World"

Linus Roth Violin
Conductor Julio García Vico

SOURCES OF INSPIRATION

Weber's "Freischütz" (1821) is considered the first successful German romantic opera. The overture is a summary of important elements from it. It is about the battle between good and evil, idyllic reality and black magic, forest and hunters, thunderstorms and wedding celebrations.
The Czech composer Antonín Dvořák had to look for slightly different sources while he was living in New York as director of the National Conservatory of Music between 1892 and 1895. The Americans, as he reported, "expected great things from me and the main thing was that I would show them the way to the promised land of a new independent art, in short, help them to create a national music!" And he found inspiration for this: "I am convinced that the future music of this country must be based on what is generally referred to as 'Negro melodies'. In the Negro songs I find everything that is necessary for an important and distinguished school of music." But not only here: "I carefully studied a certain number of Indian melodies given to me by a friend, and became entirely imbued with their qualities - rather, their spirit. I have tried to reproduce this spirit in my new symphony without actually using the melodies. I have simply written original themes that embody the peculiarities of Indian music and developed them with the means of modern rhythms, harmony, counterpoint and orchestral color."
Nikolai Petrovich Rakov (1908-1990) studied with Reinhold Glière at the Moscow Conservatory until 1931 and eventually became a professor of instrumentation there himself. He also performed as a violinist and conductor. His Violin Concerto No. 1, which was frequently played by the great violinist David Oistrakh, proves that he was a composer in the tradition of Glière and Glazunov, who never questioned harmonic tonality and knew how to use the instruments to full effect.