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Work: Symphony no. 7 in D minor, Op.70

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Fact file
ComposerDvořák, Antonín (1841-1904)
PeriodRomantic
Year1885
Work typeOrchestral
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BuffaloSandy Cameron plays Mendelssohn

Listing filler
Kodály, Mendelssohn, Dvořák
Buffalo Philharmonic Orchestra; JoAnn Falletta; Sandy Cameron

TallinnFinal Concert of the Season: Kempf and Rachmaninov

Pärt, Rachmaninov, Dvořák
Estonian National Symphony Orchestra; Olari Elts; Freddy Kempf

TokyoBaiba Skride plays Gubaidulina's Violin Concerto

NHK Symphony Orchestra, Tokyo
Rachmaninov, Gubaidulina, Dvořák
NHK Symphony Orchestra Tokyo; Tatsuya Shimono; Baiba Skride

NorwichEstonian National Symphony Orchestra in Newbury

Pärt, Rachmaninov, Dvořák
Estonian National Symphony Orchestra; Olari Elts; Freddy Kempf

BirminghamEstonian National Symphony Orchestra

Pärt, Rachmaninov, Dvořák
Estonian National Symphony Orchestra; Olari Elts; Freddy Kempf
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Quint plays Korngold with movie star character in Edinburgh

Christian Reif directs music ranging from the Hollywood glamour of Korngold to the seriousness of Dvořák, with a foray into the softer modernism of Julia Perry.
****1
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Stars and symbols, love and loss: Gardner, France and the LPO

“A place to call home” and “Exiles and Dreamers” is how the LPO marketed this concert. No need for such additional flourishes in an interesting juxtaposition of Tchaikovsky, Dutilleux, George Walker and Dvořák. 

****1
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The Swedish RSO provides a flashy finish for Dvořák’s Prague

Daniel Harding and the Swedish Radio Symphony Orchestra bring their own fireworks to the festival finale.
****1
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Vienna meets London: Grosvenor and the Vienna Radio Symphony

Hannah Eisendle's Heliosis proves the highlight of Prom 36, with Benjamin Grosvenor giving a performance of quality in Prokofiev's Third Piano Concerto.
***11
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Robust Brahms and vigorous Dvořák from Miura, Gourlay and the RPO

How much classical restraint and how much Romantic feeling do you really want in 19th-century concertos and symphonies? With the RPO, Fumiaki Miura and Andrew Gourlay both choose to err on the side of the former.
***11
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