Symphony No. 6 (Dvořák)

The Symphony No. 6 in D major, Op 60 is a symphony by Antonín Dvořák. It was published during his lifetime as his first symphony. The symphony is marked as its predecessor of strong Bohemian and Czech influences in the musical subject. The work is dedicated to the conductor Hans Richter.

Formation

Dvořák's Symphony No. 6 was created in 1880, about five years after the completion of his Symphony No. 5. However, there are substantive parallels between the two works, which have a very pastoral and Bohemian- national sound. This period in Dvořák's life was marked by the slow international breakthrough and finding and developing his personal style of composition, he had already pronounced very far with the completion of the 6th Symphony.

Dvořák wrote the work for the Vienna Philharmonic and its chief conductor Hans Richter. Shortly before the scheduled premiere in December 1880, this was canceled due to illness judge and overcrowding of the orchestra. However, Dvořák suspected an anti -Czech adjustment in Vienna at that time, as the underlying cause for the cancellation. So it was instead on March 25, 1881 in Prague for the premiere of the symphony under Adolf Čech, who had already directed the world premiere of the Symphony No. 5. Richter conducted the symphony until 1892 in London.

About the Music

Occupation

2 flutes (2nd piccolo ), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani and strings.

1st movement: Allegro non tanto

The first movement begins with a slow theme of flute and cello. Its three-part structure contains all the important motivic building blocks for the overall design of the set, which is in sonata form.

This topic will be expanded and taken up by the whole orchestra and edited in detail. A second theme in B minor (derived from y and z) is led by Major and finally presented cheering from the whole orchestra. The subsequent implementation brings a retarding torque and the minor variant of the main theme. In the further course, there is fugal elements, which are derived from the second issue. The strings then lead to a build-up of dynamically increasing quarter notes the reprise, which runs regularly meet. The final coda takes on both subjects and also processes the string quarter, which had previously led to the recapitulation. The event is brought to an apparent piano degree before the orchestral tutti throws in the final chords.

2nd movement: Adagio

The Adagio in B flat major begins with a lyrical melody in the woodwinds, which will soon be continued by the strings and the horns. A peaceful and tranquil mood is conveyed. The set combines rondo and variation movement. A ABACABA form brings the main theme (A ) each varies slightly again. With shocking drama breaks the C- theme in dark and throbbing minor chords in over the quiet - flowing action. The return of the main theme is done after first timidly into the flutes before it is slowly absorbed again by the orchestra. The latest iteration is initiated by the softly throbbing timpani, which can fade the sentence after a final climax quietly.

3rd movement: Scherzo, Furiant

The Scherzo of the Symphony No. 6 is a Furiant. This rather coarse Czech dance is characterized by the clock change from 2/4- and 3/4-time. Dvořák had this Bohemian national dance, for example, already used in the Slavonic Dances, Op 46. The two-part Furiant theme combines a tough and somewhat awkward -looking phrase with a graceful, dance-like motif. The trio is different in character from Furiant clearly and provides a pastoral flute melody in the foreground.

4th movement: Finale, Allegro con spirito

The main theme of the finale recalls his style will according to the Symphony No. 2 by Johannes Brahms, Dvořák 's friend, who was two years earlier. The second theme complements the calmly flowing main theme to sudden and lively elements. This second theme is moved into the implementation Moll and edited versatile. The coda leads the symphony to a fortissimo conclusion, in which the main theme presented with enlarged note values ​​.

Effect

The premiere of the sixth symphony was a great success for Dvořák. The Czechs took the new symphony as positive as yet no other work of Dvořák so far. This was mainly because that the symphony has a very national character, and thus nursed the desire of Czech compatriots Dvorak for his own style. This had previously been thoroughly criticized, not nationalistic enough to think and compose. A point of criticism hardly seems understandable from today's perspective, as we Dvořák's music today mostly influenced Bohemian and certainly nationally conscious appears.

In the rest of Europe, the symphony began by quickly and was often listed. Only in Vienna the symphony in a difficult position had the political climate at that time put a strong emphasis on German culture and the German style, which is why the very first time, Dvořák's Symphony No. 6 Czech rang in Vienna until 1883.

The 6th Symphony is now considered a national most conscious of Dvořák's works and is artistically at the threshold before the great and most important symphonies of the Master ( 7th, 8th and 9th Symphony ). Even today it continues to considerable popularity and is often listed.