Antonin Dvorak. Symphony 5(9). Analysis by Gerard Schwarz (Mov.2)

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Antonin Dvorak. Symphony 5(9). Analysis by Gerard Schwarz (Mov.2)발음듣기

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Gerard: Now we get to the second movement.발음듣기

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What's interesting about the second movement one of the many things interesting is that it's marked "largo."발음듣기

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And very often it would be played as the largo from the New World Symphony because it's such a famous melody and everyone knows this melody.발음듣기

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It began as an andante. An andante is a faster tempo, and so he envisioned this as a fast as he was writing it.발음듣기

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And then, he thought "well maybe that's not correct, "maybe it should be a little slower," so he wrote larghetto.발음듣기

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It was premiered by the New York Philharmonic at Carnegie Hall 1893 and Anton Seidl, a very great conductor, did it quite slowly.발음듣기

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And so, as a result, Dvorak changed it yet again and made it a largo.발음듣기

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So what started out as an andante, then the larghetto then the largo.발음듣기

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Interesting to see how a great artist, a great conductor like Seidl, could influence a great composer like Dvorak.발음듣기

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It begins with a very famous brass corral.발음듣기

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Horns, trumpet, trombone and tuba. At the end of these few bars it makes a decrescendo and the strings take over playing the exact same chord.발음듣기

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And then, the most famous English horn solo of all time.발음듣기

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It is one of the most beautiful solos and many people believe that it's influenced by Negro spirituals.발음듣기

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One could make the argument that it's also influenced by Czech folk music.발음듣기

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Whatever the influence is, it is gorgeous.발음듣기

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(slow brass classical music) (timpani pounding) (slow brass classical music) (slow violin music) (English horn solo) At the end of this statement of the beautiful melody of the English horn, that opening corral is repeated.발음듣기

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This time played by the woodwinds and the horns.발음듣기

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Again, he uses that same imaginative orchestrational idea.발음듣기

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(slow, high flute music) (flute and horn music) The woodwinds finish their chord, the brass come in playing the same chord fortissimo, then make a decrescendo and the strings remain singing that same exact chord very softly, and then they play.발음듣기

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(slow brass chord) (moves into slow violin music) The English horn comes back and plays it again.발음듣기

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We have a couple of muted horns that bring us to theme two.발음듣기

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It's marked a little bit faster.발음듣기

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Of course we do that, played by the flute and the oboe.발음듣기

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(slow to mid-tempo flute and oboe music) The second theme is then extended by a beautiful clarinet duet.발음듣기

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(slow clarinet music) The clarinets play their gorgeous duet.발음듣기

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The violins come in playing the same melody and we move to yet another melody.발음듣기

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This one, played by the violins and the clarinets, is almost funereal.발음듣기

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This is very heartfelt, gorgeous music played very poignantly and very softly, primarily by the strings.(soft string instruments) Then this leads to yet another theme.발음듣기

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As I keep repeating, Dvorak is just full of ideas.발음듣기

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And now we have the third theme.발음듣기

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This one is a completely different character.발음듣기

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It starts with the oboe, then the clarinet, then the flute, then the violins, then the cellos and the basses.발음듣기

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(lively woodwind instruments) So here you have this kind of light that enters this work and then what happens?발음듣기

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The trombones come in in an ominous way playing the first theme from the first movement, the horn theme, slower.발음듣기

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The trumpets play a fanfare version of the English horn solo that we had just heard and the strings play the third theme from the first movement.발음듣기

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It's hard to keep track of which numbered theme it is, but if you just listen to the trombones playing one theme, the trumpets playing another and the violins playing another and see how it all fits together.발음듣기

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An absolutely brilliant work. (loud orchestral music) This is a very short transition.발음듣기

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Bringing us back to the beautiful English horn solo.발음듣기

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(slow English horn solo) The English horn solo then is extended by 10 solo string players, four violins, two violas, two cellos and two basses.발음듣기

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What I'd like you to notice is the silences.발음듣기

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He plays a little bit of this beautiful theme very softly and poignantly, and then there's a stop.발음듣기

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And then he does it again and there's another stop.발음듣기

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And then he reduces it to just three players, a solo violin, a solo viola, and a solo cello.발음듣기

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Then, the full string section comes in and it brings us back to the corral that opened the movement.발음듣기

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It's darker sounding and I'll tell you exactly why even though you wouldn't even notice.발음듣기

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Why does it sound darker? "Why does it sound more reserved, more introspective?"발음듣기

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It's because in orchestrational, he eliminates the trumpets.발음듣기

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So you hear the trumpets at the very beginning.발음듣기

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Here, there are no trumpets so that kind of more brighter sound is missing.발음듣기

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It ends very beautifully, with a very unusual three-part chord played by the double basses.발음듣기

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It's hard to imagine if anyone before this time had ever written something where a trio of double basses or three voices of double basses, would end a symphonic movement.발음듣기

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Quite remarkable. (slow, quiet string instruments) (slow woodwind and string instruments) (sombre trombone and horn music) (sombre string instruments) (slow double bass music)발음듣기

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