Antonin Dvorak. Symphony 5(9). Analysis by Gerard Schwarz (Mov.1)

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Antonin Dvorak. Symphony 5(9). Analysis by Gerard Schwarz (Mov.1)발음듣기

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(calm symphony music) Gerard: Dvorak wrote nine symphonies.발음듣기

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The ninth certainly is the most popular and it was extremely popular from the time it was premiered.발음듣기

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It is extraordinary when you think that Dvorak wrote some of his greatest music those few years that he was in New York and in Spillville, Iowa.발음듣기

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The cello concerto, the American string quartet, and this great symphony, among other works.발음듣기

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The symphony begins in a kind of melancholy way.발음듣기

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The cellos play this very soft little theme.발음듣기

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But it's an introduction, like all symphonies from Mozart and Haydn on, they had that slow introduction.발음듣기

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It starts with a melancholy, beautiful soft gesture from the cellos accompanied by the other strings.발음듣기

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And then all of the sudden a horn has a little, almost a fanfare, just a couple of notes, but it's startling.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: The introduction then goes to the woodwinds.발음듣기

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The flute leading with oboes accompanying and bassoons eventually.발음듣기

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The same thing happens. Very beautiful, soft, elegant.발음듣기

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But this time the strings come in fortissimo, loud.발음듣기

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And then the timpani come in.발음듣기

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The woodwinds answer. It's a really extraordinary moment. ("Ninth Symphony" by Antonin Dvorak) Gerard: Then you hear this little agitated section of the woodwinds.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: Two horns come in playing this theme which eventually will be theme one.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: That's repeated.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: A little aggressive and violent string playing, especially from the second violinist and violas.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: A little timpani solo and we're into the body of the movement.발음듣기

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And sure enough, it begins with those two horns, the third and fourth horn, playing the first theme.발음듣기

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What Dvorak does so interestingly is he doesn't take two melodic groups and then repeats it, develops it, and recapitulates it.발음듣기

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No, he has many melodies. He has so many melodies just throughought the whole piece and he brings them back, as I'll show you.발음듣기

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So, it begins with the horns, repeated, extended by the clarinet and bassoon and then the strings play that melody loud, fortissimo, then it backs away and starts a crescendo and sure enough the trombones play the melody.발음듣기

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The extension now is by the strings rather than the clarinets and bassoons. It's all strong. It's remarkable.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: The second theme, which certainly sounds like a folk melody of some kind, is played by the flute and the oboe.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: Then the second violins take it over.발음듣기

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And then the cellos and basses take it over.발음듣기

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Then it's somewhat developed. So again, little different in symphonic form than we're used to because he takes that theme and rather than just moving on, he actually develops that theme at that moment.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: Next we have what we consider the third theme.발음듣기

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It's introduced by the low flute.발음듣기

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Dvorak also did some remarkable things in terms of instrumentation.발음듣기

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The use of the flute in this register is unusual and it's poingant and very different sounding than it would be if an oboe played it or a clarinet, and I think a stroke of genius.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: Violins take over the same material.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: And then the cellos and basses come over with the same material, but now they're playing the same tune, fortissimo.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: We arrive now at the repeat.발음듣기

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So, Dvorak asks us to repeat the whole beginning.발음듣기

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Many conductors do not do this repeat.발음듣기

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I'm a great believer in it obviously because Dvorak wrote it, but secondarily, there is so much material that he has given us, so many themes already, and the development of those themes in small ways, that we really need to hear it again as far as I'm concerned.발음듣기

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And after the repeat we have this third theme.발음듣기

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This time it's played as a horn fanfare.발음듣기

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So, it's a completely different sound.발음듣기

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The horn plays a little fanfare and it's echoed by a piccolo solo.발음듣기

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Again, a remarkable stroke of orchestrational genius on Dvorak's part.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: The trumpet takes over.발음듣기

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The oboes extend it. ("Ninth Symphony" by Antonin Dvorak) Gerard: And then we get the trumpet play theme three.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: And then the trombones play theme one.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: Then we do the same thing with the horn playing theme three.발음듣기

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And trombones play theme one. ("Ninth Symphony" by Antonin Dvorak) Gerard: After this combination, again it's developed slightly, we get to what we consider the recapitulation where we go back to the first theme played by the third and fourth horn.발음듣기

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And it is pretty clear. Then the oboe plays it.발음듣기

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Then the flute does the extension.발음듣기

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The violins play it quite loudly.발음듣기

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And at the end of that, it gets softer and softer and now we have a solo for the second flute, bringing in, again, the second theme and just in a beautiful, soft way.발음듣기

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And then that gets extended by all of the woodwinds.발음듣기

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("Ninth Symphony" by Antonin Dvorak) Gerard: The recapitulation continues in an obvious fashion.발음듣기

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After this development section, we make a deep crescendo, or diminuendo.발음듣기

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And folk theme comes again played by the second flute.발음듣기

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All of these themes get developed towards the end of the movement and it comes to an end.발음듣기

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There's very little what we would call "filler", very little sequential material.발음듣기

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They way they're developed, the way they're combined.발음듣기

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And the movement goes by and it feels like it takes a minute because it's so remarkable.발음듣기

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Interestingly that he never brings back the opening material from that introduction, which is something rare in his case, as you'll see as we go through this piece.발음듣기

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