Antonín Dvořák Leos Janáček, Bohuslav Martinů

The Symphony in Bohemia
Antonín Dvořák
Leos Janáček, Bohuslav Martinů
Radical Romanticism
Liszt; Wagner
Conservative Romanticism
Czech Nationalism
Classicism
Smetana
Schumann
Haydn; Brahms
Early Romanticism
Late Romantic Opera
Wagner
Schubert
1841
1904
The Symphonies
No. 1 in C Minor “The Bells of Zlonice”
Rediscovered in 1923
No. 2 in B-flat Major, Op. 4
No. 3 in E-flat Major, Op. 10
No. 4 in D Minor, Op. 13
The Symphonies
No. 5 in F major, Op. 76
Old Style: No. 3
No. 6 in D Major, Op. 60
Old Style: No. 1
No. 7 in D Minor, Op. 70
Old Style: No. 2
The Symphonies
No. 8 in G Major, Op. 88
Old Style: No. 4
No. 9 in E Minor, Op. 95 (New World)
Old Style: No. 5
Early Efforts
Symphonies 1 & 2 composed in 1865
If Dvořák hadn’t sent copies of the
manuscripts away, neither likely would have
survived.
The most important influence appears to
have been Schumann.
Both run nearly an hour apiece.
Early Efforts
Neither symphony is altogether successful—the
length alone is a problem.
But throughout both, there are wonderful
moments that are clear harbingers of the
Dvořák symphonies of the future.
From Symphony
No. 2’s third
movement
Symphony No. 3, Op. 10
Written in 1873, this Symphony is an
altogether different kettle of fish from its
predecessors.
It marks Dvořák’s entry into the
Great
Symphonist
Sweepstakes!!!
Typical reaction to Symphonies 1 & 2:
Typical reaction to Symphony No. 3
And why, pray tell, is THAT?
It isn’t terribly long.
The music is tightly constructed, using
the same basic ideas throughout.
It sounds like Dvořák!
Symphony No. 3, Op. 10: I
Istvan Kertesz / London Symphony Orchestra
Introduction
Primary Group
Pa
Pb
Pa1
Pa 2
Transition
2Ta
2Tb
1Ta
1Tb
Secondary Group
Sa
Sa1
K(Pa)
Pa1
Symphony No. 4
Symphony No. 4 in D Minor was written in
1874.
Commentators have wondered if it might
possibly be programmatic—esp. in the first
movement.
At first, you might think it will be a dark, stormy
work—like Dvorak’s 7th, also in D Minor.
But then comes the second theme...
And...
Istvan Kertesz / London Symphony Orchestra
The Dumka
The Dumka is a piece the moves from brooding
and melancholy in its first section to a serene
and happier mood in its next.
Example: Slavonic Dance, Op. 72 No. 2
The “sad” part
The “serene” part
Symphony No. 5: II
István Kertesz / London Symphony Orchestra
The “sad” part
The “serene” part
Waltzes and Furiants
The 3rd movement of a Dvorak Symphony is
typically a dance.
Waltzes
Furiants
Triple meter, fast, with cross accents
Waltz: Symphony No. 8 III
István Kertesz / London Symphony Orchestra
Furiant: Symphony No. 6 III
Colin Davis / London Symphony Orchestra
Dances and Endings
Dvorak was one of the great “endings”
composers of all time.
My vote for most spectacular ending of all nine
symphonies ends in a tie!
Symphony No. 6 in D Major
Symphony No. 8 in G Major
Symphony No. 6 - IV
Today’s LSO Brass on Full Display!
Symphony No. 8 - IV
Lorin Maazel Drives the Vienna Phil to the Max!
The Elusive 9th
The “New World” Symphony—No. 9 in E
Minor, Op. 95—is actually a very tricky piece to
pull off successfully, despite its familiarity with
modern audiences.
The first two movements aren’t usually a
problem, but the 3rd and 4th pose a lot of
challenges.
That’s especially true of the 3rd movement
Scherzo.
A Few Comparisons
Each of the four performances we’re about to
hear are valid approaches to the 3rd
movement, all from gold-medal conductors and
orchestras.
But they don’t all succeed in conveying the
buoyant and festive spirit of Dvorak’s music.
One is notably more successful than the others.
The cushioned, smooth-ride approach:
Herbert von Karajan / Berlin Philharmonic
The rocket-propelled approach:
Leonard Bernstein / New York Philharmonic
The Olympian, magisterial approach:
Mariss Jansons / Royal Concertgebouw Orchestra
My personal candidate for the Hall of Fame
István Kertesz / London Symphony Orchestra
Dvorak’s Successors
Leoš Janáček (1854 – 1928)
Sinfonietta (1926)
Bohuslav Martinů (1890 – 1959)
Six Symphonies (1942 – 1953)
About Martinů
Prague 1890 - 1923
Paris 1923 - 1940
New York 1941 - 1953
Taught at Mannes College of Music
Alan Hovhaness was a student
Nice & Rome 1953 - 1959
About Martinů
Prolific composer
Sometimes that has worked against his
posthumous reputation a bit
Martinů’s Symphonies
Nos. 1 – 5 were written almost as a suite, from
1942 through 1946.
No. 6 was written later, in 1953.
Orchestral Style
Massive orchestral textures
Complex layered rhythms
Use of prominent piano and harp parts
Dance and folk feeling: never lost sight of his
Czech roots.
Symphony No. 1: I
Jiri Belohlavek / BBC Symphony
Wrap-Up
A Big, Gutsy Martinů Finale
Symphony No. 1: IV