Supposedly, the work was a response to a challenge from a friend to write variations on a theme that seemed impossible for that purpose.[2] Dvořák chose the third of his set of three part-songs for unaccompanied male voices (Sborové písně pro mužské hlasy), B. 66, titled "Huslař", or "Já jsem huslař" ("The fiddler", or "I am a fiddler"; text by Adolf Heyduk - the other two songs were from Moravian folk poetry). The three songs were written in mid-January 1877 and first performed on 4 March.[3] The third song is in ternary form (ABA), where the lengths of the phrases are 7, 6, and 7 bars. But far from being impossible as a subject of variations, the theme turned out to be exceptionally well suited for that purpose.[4]
The Symphonic Variations were written between 6 August and 28 September 1877.[1] The work was first performed in the Žofín concert hall[5] in Prague on 2 December 1877, by the Provisional Theatre [Prozatímní divadlo] Orchestra, under conductor Ludevít Procházka.[1][5][6] The occasion was a charity concert to raise money for the construction of a church in Prague's Smíchov district,[5] and, although the audience liked the piece, there was no press coverage of it.[4] Also, Dvořák's publishers were not interested in the work.[7] Doubly discouraged, he put it aside for ten years, concentrating on other projects.
In March 1887, under pressure to produce more music, Dvořák revived the work, this time conducting it himself in Prague's Rudolfinum. The National Theatre Orchestra so pleased him with this second performance that he decided to send the score to the conductor Hans Richter. Richter was delighted with it and immediately included the piece in the programme for his forthcoming English tour.[5] He wrote to the composer on 17 May[8] after the first rehearsal with the Philharmonic Society in London on 13 May, "I am absolutely carried away. It is a magnificent work! I am so happy to be the first to produce it in London. But why have you held it back so long? These variations should shine in the first rank of your compositions".[9]
The concert itself later that month was a huge success, and Richter wrote again, "At the hundreds of concerts which I have conducted during my life, no new work has ever had such a success as yours".[10]
In December 1887, Vienna was exposed to the Symphonic Variations for the first time, again with Richter conducting. In the audience were Dvořák and his friend Johannes Brahms, who presented the composer with an exquisite cigarette holder to mark the occasion.[5] Now his publisher N. Simrock, which had declined to publish the work ten years earlier, sat up and took notice, but instead of the opus number 28 that Dvořák had given it, they published it as opus 78, to suggest a brand new composition.[5] The work has been given number 70 in the Burghauser catalogue. In around 1888, Dvořák arranged the Variations for piano four-hands, which are listed in the Burghauser catalogue as B. 514.[6]
Dvořák's Symphonic Variations are among the three most frequently played of all sets of orchestral variations, along with Brahms's Variations on a Theme by Haydn and Elgar's Enigma Variations. Hubert Parry's Symphonic Variations were doubtlessly influenced by Dvořák's example.[11]
Orchestration
The work is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle and strings. It takes about 22 minutes to play.[6]
Structure
The theme is introduced Lento e molto tranquillo in C major, then proceeds through 27 variations in various tempi, ending in an ingenious fugal finale Allegro maestoso. The work remains in C major until Variation 17, moving into D major for Variation 18, B♭ major for Variation 19, B♭ minor for Variations 20–24, G♭ major for Variations 25 and 26, before returning to C major for the final variation and the finale.
It is predominantly in 2 4 time, but explores 3 4 for the Scherzo (Variation 17) and Tempo di valse (Variation 19), and also uses 3 8, 6 8 and 12 8 in some of the later variations. The final variation and the fugal finale return to 2 4.
About Symphonic Variations on a comprehensive Dvorak site
January 23, 2023
symphonic, variations, dvořák, antonín, dvořák, symphonic, variations, theme, fiddler, czech, symfonické, variace, písně, jsem, huslař, orchestra, were, written, 1877, they, played, fairly, commonly, much, like, johannes, brahms, variations, theme, haydn, edwa. Antonin Dvorak s Symphonic Variations on the Theme I am a fiddler Czech Symfonicke variace z pisne Ja jsem huslar for orchestra Op 78 B 70 were written in 1877 1 They are played fairly commonly much like Johannes Brahms s Variations on a Theme by Haydn and Edward Elgar s Enigma Variations They are often recorded in conjunction with his nine symphonies Contents 1 Background 2 Orchestration 3 Structure 4 Recordings 5 References 6 External linksBackground EditSupposedly the work was a response to a challenge from a friend to write variations on a theme that seemed impossible for that purpose 2 Dvorak chose the third of his set of three part songs for unaccompanied male voices Sborove pisne pro muzske hlasy B 66 titled Huslar or Ja jsem huslar The fiddler or I am a fiddler text by Adolf Heyduk the other two songs were from Moravian folk poetry The three songs were written in mid January 1877 and first performed on 4 March 3 The third song is in ternary form ABA where the lengths of the phrases are 7 6 and 7 bars But far from being impossible as a subject of variations the theme turned out to be exceptionally well suited for that purpose 4 The Symphonic Variations were written between 6 August and 28 September 1877 1 The work was first performed in the Zofin concert hall 5 in Prague on 2 December 1877 by the Provisional Theatre Prozatimni divadlo Orchestra under conductor Ludevit Prochazka 1 5 6 The occasion was a charity concert to raise money for the construction of a church in Prague s Smichov district 5 and although the audience liked the piece there was no press coverage of it 4 Also Dvorak s publishers were not interested in the work 7 Doubly discouraged he put it aside for ten years concentrating on other projects In March 1887 under pressure to produce more music Dvorak revived the work this time conducting it himself in Prague s Rudolfinum The National Theatre Orchestra so pleased him with this second performance that he decided to send the score to the conductor Hans Richter Richter was delighted with it and immediately included the piece in the programme for his forthcoming English tour 5 He wrote to the composer on 17 May 8 after the first rehearsal with the Philharmonic Society in London on 13 May I am absolutely carried away It is a magnificent work I am so happy to be the first to produce it in London But why have you held it back so long These variations should shine in the first rank of your compositions 9 The concert itself later that month was a huge success and Richter wrote again At the hundreds of concerts which I have conducted during my life nonewwork has ever had such a success as yours 10 In December 1887 Vienna was exposed to the Symphonic Variations for the first time again with Richter conducting In the audience were Dvorak and his friend Johannes Brahms who presented the composer with an exquisite cigarette holder to mark the occasion 5 Now his publisher N Simrock which had declined to publish the work ten years earlier sat up and took notice but instead of the opus number 28 that Dvorak had given it they published it as opus 78 to suggest a brand new composition 5 The work has been given number 70 in the Burghauser catalogue In around 1888 Dvorak arranged the Variations for piano four hands which are listed in the Burghauser catalogue as B 514 6 Dvorak s Symphonic Variations are among the three most frequently played of all sets of orchestral variations along with Brahms s Variations on a Theme by Haydn and Elgar s Enigma Variations Hubert Parry s Symphonic Variations were doubtlessly influenced by Dvorak s example 11 Orchestration EditThe work is scored for piccolo 2 flutes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets 3 trombones timpani triangle and strings It takes about 22 minutes to play 6 Structure EditThe theme is introduced Lento e molto tranquillo in C major then proceeds through 27 variations in various tempi ending in an ingenious fugal finale Allegro maestoso The work remains in C major until Variation 17 moving into D major for Variation 18 B major for Variation 19 B minor for Variations 20 24 G major for Variations 25 and 26 before returning to C major for the final variation and the finale It is predominantly in 24 time but explores 34 for the Scherzo Variation 17 and Tempo di valse Variation 19 and also uses 38 68 and 128 in some of the later variations The final variation and the fugal finale return to 24 Recordings EditThe work has been recorded many times Currently available recordings include those conducted by Marin Alsop Jiri Belohlavek Ivan Fischer John Eliot Gardiner Stephen Gunzenhauser Neeme Jarvi Istvan Kertesz Rafael Kubelik Theodore Kuchar Zdenek Macal Sir Charles Mackerras Vaclav Neumann Wolfgang Sawallisch Peter Tiboris and Arturo Toscanini 12 References Edit a b c antonin dvorak cz Linn antonin dvorak cz a b Oregon Symphony a b c d e f ARTA Records a b c IMSLP Classical Archives Richter s original letter can be seen here in Czech The Musical Times 1 August 1932 David Gordon and Peter Gordon Musical visitors to Britain The Victorian Web ArkivMusicExternal links EditAbout Symphonic Variations on a comprehensive Dvorak site Retrieved from https en wikipedia org w index php title Symphonic Variations Dvorak amp oldid 1003729759, wikipedia, wiki, book, books, library,
