The Wild Dove

The Wild Dove ( Holoubek ), Op 110 is a symphonic poem of the Czech composer Antonín Dvořák.

Formation

The wood pigeon was created in 1896 after Dvořák had returned from his faculty position at the U.S. National Conservatory of Music in his home. Dvořák composed a cycle of symphonic poems, including The Aquarius (op. 107), The Noon Witch (op. 108), The Golden Spinning Wheel (op. 109 ), and finally, the wood pigeon belong. Dvořák set to music in this cycle oils derived from ballads collection » Kytice " ( bouquet ) of the Czech poet Karel Jaromír Erben.

The close in time (1897 ) resulting tone poem Heldenlied stands outside the cycle; it is based on a system developed by Dvořák program itself.

About the Music

Occupation

Piccolo / Flute 1, Flute 2, 2 oboes, English horn, 2 clarinets (B ), Bass Clarinet ( B ), 2 bassoons - 4 horns (F), 2 Trumpets (F ), 3 trombones, tuba - timpani, triangle, Gr. Drum, class drum, cymbals - harp - strings

Content

The wood pigeon is divided into five sections, which Dvořák wrote scenic notes in the score:

The first section ( Marcia funebre ) describes the funeral of a young widow behind the coffin of her late husband, but their mourning for the poisoned her husband not real. in the second section ( Allegro - Andante) she meets a young man, whom she married in the third section ( Molto vivace, Bohemian wedding music). After the woman in the fourth section ( Andante) is pursued by accusing cooing of a wood pigeon on her late husband's grave and suicide investigated in the waves that follows - unlike inheriting template - in the fifth and final section of the work ( Andante) a conciliatory conclusion in the solo violin.

The funeral march theme from the beginning of the play is found in all sections of the wood pigeon again. Leoš Janáček settled in such works as the opera " Jenufa " and the Rhapsody " Taras Bulba " and other factors influence of the variation and the instrumentation technique of wood-pigeon.

Effect

Leoš Janáček conducted the premiere of the Wood Dove in Brno. Meanwhile encouragement for the work was shared by Gustav Mahler, who brought it in Vienna in 1899 for the first performance.

But there were also critical voices. The concluded from the cycle of symphonic poems Waldtaube was afraid the audience, Dvořák would change the style of the New German School. "Music critics Pope " Eduard Hanslick was annoyed by the atrocities in the actions chosen for the cycle templates: "How you could have chosen such a horrible, each finer feeling revolting substance to musical presentation, I am not quite understand ."

Documents

• Christoph Hahn, Sigmar Hohl ( ed.), Bertelsmann concert guide, Bertelsmann Lexikon Verlag, Gütersloh / Munich 1993, ISBN 3-570-10519-9
• Haren mountain concert guide, Haren mountain communication, Dortmund, 1998, ISBN 3-611-00535-5