A masterpiece written on a dare. From the London Philharmonic program notes of Stephen Johnson, "According to one account, Dvořák’s Symphonic Variations were the result of a dare. A friend pointed to the angular, chromatic melody in one of Dvořák’s partsongs for male chorus, entitled Huslar (‘The Fiddle-player’), and challenged him to write a set of variations on such an ‘intractable’ theme. What Dvořák produced in response is generally acknowledged to be the finest set of variations in any format. Dvořák obviously realised that the theme’s starkly individual characteristics - the simple but memorable rhythm of the first phrase, its arresting chromaticism (a sharpened fourth soon followed by a ‘pure’ fourth) and its irregular phrase-lengths - could prove fertile for development." Fertile indeed. From pathos to mirth, every human emotion is captured in superb composition and orchestration. Thank you for this, and for all your postings.
I don't know why I was unaware of this piece, but better late than never. Brilliant. No doubt the odd nature of the theme lent itself to inspired inventiveness...I wasn't expecting to hear clear lydian in the 2nd bar. And love the Meno mosso at 19:51 sounds like it could be in Harry Potter. Sometimes by the end of some of Dvorak's music I'm restless because it tends to be a wash of the same kind of tonalities and colors, but definitely not with this piece.
A masterpiece written on a dare. From the London Philharmonic program notes of Stephen Johnson, "According to one account, Dvořák’s Symphonic Variations were the result of a dare. A friend pointed to the angular, chromatic melody in one of Dvořák’s partsongs for male chorus, entitled Huslar (‘The Fiddle-player’), and challenged him to write a set of variations on such an ‘intractable’ theme. What Dvořák produced in response is generally acknowledged to be the finest set of variations in any format. Dvořák obviously realised that the theme’s starkly individual characteristics - the simple but memorable rhythm of the first phrase, its arresting chromaticism (a sharpened fourth soon followed by a ‘pure’ fourth) and its irregular phrase-lengths - could prove fertile for development."
Fertile indeed. From pathos to mirth, every human emotion is captured in superb composition and orchestration. Thank you for this, and for all your postings.
I don't know why I was unaware of this piece, but better late than never. Brilliant. No doubt the odd nature of the theme lent itself to inspired inventiveness...I wasn't expecting to hear clear lydian in the 2nd bar. And love the Meno mosso at 19:51 sounds like it could be in Harry Potter. Sometimes by the end of some of Dvorak's music I'm restless because it tends to be a wash of the same kind of tonalities and colors, but definitely not with this piece.
21:09 - 21:12 Seems like Mozart Symphony no 22 1st movement
I didn't know you used musescore! (yeah this doesnt pertain to the video but still)