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The Symphony No. 1 in D minor, Op. 9, was completed by Ernő Dohnányi in 1901, when the composer was 24. It was his second venture into orchestral writing, his Symphony in F written in 1896 was not published. The symphony in D minor was premiered in January 1902 in Manchester, England, under the baton of Hans Richter. The Hungarian premiere followed in 1903. Although audibly influenced by the prevailing voices of the time, including Bruckner, Strauss, Tchaikovsky, Wagner, Mahler and Brahms, the work nonetheless demonstrates a formidable handling of complex compositional techniques and is a notable precursor to what would become Dohnányi's distinctive neoromantic style. As with most of his public work, Dohnányi published the composition under the Germanized version of his name, Ernst von Doh

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  • The Symphony No. 1 in D minor, Op. 9, was completed by Ernő Dohnányi in 1901, when the composer was 24. It was his second venture into orchestral writing, his Symphony in F written in 1896 was not published. The symphony in D minor was premiered in January 1902 in Manchester, England, under the baton of Hans Richter. The Hungarian premiere followed in 1903. Although audibly influenced by the prevailing voices of the time, including Bruckner, Strauss, Tchaikovsky, Wagner, Mahler and Brahms, the work nonetheless demonstrates a formidable handling of complex compositional techniques and is a notable precursor to what would become Dohnányi's distinctive neoromantic style. As with most of his public work, Dohnányi published the composition under the Germanized version of his name, Ernst von Dohnányi. The symphony is 50–55 minutes in duration. (en)
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  • The Symphony No. 1 in D minor, Op. 9, was completed by Ernő Dohnányi in 1901, when the composer was 24. It was his second venture into orchestral writing, his Symphony in F written in 1896 was not published. The symphony in D minor was premiered in January 1902 in Manchester, England, under the baton of Hans Richter. The Hungarian premiere followed in 1903. Although audibly influenced by the prevailing voices of the time, including Bruckner, Strauss, Tchaikovsky, Wagner, Mahler and Brahms, the work nonetheless demonstrates a formidable handling of complex compositional techniques and is a notable precursor to what would become Dohnányi's distinctive neoromantic style. As with most of his public work, Dohnányi published the composition under the Germanized version of his name, Ernst von Doh (en)
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  • Symphony No. 1 (Dohnányi) (en)
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