Dvorak Symphony No.6 in D major

Symphony No.6 in D Major, Opus 60

Antonίn Dvořák (1841-1904)

Dvořák was thrilled in November 1879 to have Hans Richter programme his Slavonic Rhapsody No.3 in a Vienna Philharmonic concert. At that time Richter was one of the most eminent conductors in Europe, so it was a real privilege. Dvořák spent the performance sitting on an organ bench beside his friend and mentor, Brahms. After the performance Dvořák was called to the front of the stage and given rapturous applause. Following a celebratory banquet attended by all the Czech members of the orchestra, Dvořák promised to write a symphony for the next season.

However, it was not until the following summer that Dvořák started composition of his new symphony. The work was not surprisingly inspired by Brahms Symphony No.2 in D major [which SSO performed last year], not only in its key, but its general pastoral spirit of optimism, rejoicing and good humour. Although the odd cloud passes over the music, this is generally music of a bright summer’s day.

Dvořák presented the score to Richter in Vienna one year after the previous concert, playing it to him on the piano. Richter was delighted and, Dvořák recalls, kissed him after each movement! However, due to pressures from an anti-Czech element in the Vienna Philharmonic, Richter was not to premiere the work. That eventually fell to an old stand-partner from his days playing viola, Adolf Čech conducting the Prague Philharmonic on 25^th March 1881 – almost exactly 125 years ago. However, Richter remained a loyal supporter of Dvořák and eventually conducted the symphony in London in May 1882, which in turn led to the Royal Philharmonic Society commissioning his Symphony No.7 in D minor.

I. Allegro non tanto – The first movement bears some similarities to the equivalent movement in Brahms D major symphony with lyrical string and woodwind writing and grand utterances from the brass. It opens with a theme which is thought to be inspired by a Czech folk-song. and develops into one of the most inspired movements Dvořák wrote.

II. Adagio – The slow movement is a song for violin and then horn in a pastoral mood which shows the influence of Beethoven.

III. Scherzo: Presto (Furiant) – The Czech word “Furiant” means “wild and frivolous” which perfectly describes this movement, which is a spirited dance in triple time with cross rhythms recalling the mood of Dvořák’s Slavonic Dances. The Trio is the only time in the symphony when the piccolo is heard.

IV. Finale: Allegro con spirito – The inspiration from Brahms is obvious in the opening of the finale which starts quietly and soon builds into a grand and agitated orchestral statement. The movement drives forward full of energy and vigour to a rousing conclusion.

Instrumentation (key to notation): 2/1222:4231:T Str

Programme Notes by Jonathan Hodgetts