Symphony n° 1 of Dvořák

The Symphony n° 1 in C minor known as “the Bells of Zlonice” , Opus 3 (B.9), was written by Antonín Dvořák at 23 years between the February 14th and on March 24th, 1865.

Analyzes

The symphony comprises four movements:

Maestoso - Allegro
Adagio di molto
Allegretto
Final: Allegro animato

Its execution time is variable according to the chiefs. For example: Otmar Suitner takes 43 minutes, while István Kertész directs it into 54. That is explained because Suitner does not make the resumption of the exposure to the first movement (according to in that a proposal made by Dvořák in its text on Schubert of 1894), but especially because its tempos are much more active.

The First Symphony is a bubbling work whose four movements, including the slow movement, are marked by an overflowing energy. Certain features are almost wild, in particular in the Finale . It acts like the Neuvième of a cyclic work.

It opens by a powerful call of the horns with the unison, punctuated by the remainder of the orchestra. This reason traverses work in entirety, just as a rhythmic reason for five short notes which often returns to the drinking cups, of which the part is important. The second movement inaugurates a type of slow movement that Dvořák will develop again in the two following symphonies: rather than a traditional slow movement, it is here a kind of orchestral legend, which alternates moments of lyricism and moments more tumultuous, in the form of walk. This chivalrous movement seems marked by the historical places of the old city of Prague, where Dvořák was established at the time of the writing. The last two movements continue and amplify the energetic level of work: a very free Allegretto of form which acts as Scherzo, and a almost chaotic Finale so much it is far away from the usual guns.

Instrumentation

The symphony is written for orchestra with 2 Flûte S (one being doubled by a piccolo), 2 Hautbois (one being doubled by a Cor anglais), 2 Clarinette S, 2 Basson S, 4 horns, 2 Trompette S, 3 Trombone S, drinking cups, and cords.

Creation and publication

Contrary to the Second , Third and Fourth Symphonies, Dvořák never improved its Première . It thus gives us a faithful portrait of the symphonic writing of the type-setter in 1865, already characterized by a full control of the orchestration but also by a very great formal and harmonic audacity.

After having finished it, Dvořák envoit its manuscript in Germany to subject it to a contest. But it does not gain, and the manuscript is not turned over to him. Believing definitively to have lost it, it launches out at once in the writing of its symphony n° 2. It is only in 1923 that the manuscript is found in the personal effects of a professor of Eastern sciences, Rudolf Dvořák (without family ties with the musician). This professor would have acquired the manuscript in a bouquinery of Leipzig, a way which remains mysterious. Work finally is created with Brno on October 4th, 1936, but its edition appears only in 1961.

Inspiration

It is difficult to see which Dvořák work would have taken as “model” for its first symphony. One can notice that it is same tonality as the Symphonie n° 5 of Beethoven, and than it follows even its tonal order. But the symphony is very little Beethoven ienne of tone and construction. One can also bring it closer to the Symphonie n° 1 of Anton Bruckner, also in C minor , almost made up at the same moment, and completed in 1866. These first symphonies seem atypical their type-setters, both originating in a country medium and still little known of the public: they show strong personalities, approaching with ardor the symphonic kind which they will contribute to renew in-depth.

The mystery of the bells of Zlonice

The subtitle of work the bells of Zlonice is a enigma. It is not reproduced on the manuscript, but the musicologist Jarmil Burghauser discovers in the files of the type-setter a small document on which figure mention “ C minor. Bells of Zlonice. 65 ”. That seems to correspond to the Symphonie, which takes this name then. However, the exact significance of this subtitle remains unknown. This symphony does not comprise a Cloche, and Zlonice indicates the village where Dvořák made part of its training. Several interpretations are proposed, without none being completely convincing. Inter alia, one hears with the measurements 9-16, 25-32 and 41-49 of the first movement, a kind of melody of stamps, a reason repeated on some notes, which seems to evoke a Carillon.

Musical context

In 1865, when Dvořák composes its symphony, the symphonic kind has crossed one hollow period for approximately fifteen years. Richard Wagner supported that after Beethoven, it became useless to write symphonies, because Beethoven showed in its Neuvième that the music, “female” principle, was from now on to be fertilized by poetry, “male” principle, to give the work of art of the future. Remain that indeed, after the Rhenish Symphonie of Robert Schumann of 1850, the symphony and particularly the symphony without program seems to belong to a completed past. Many new symphonies are written, but none manages to be essential and renew the kind. Their authors are forgotten today besides: Felix Draeseke, Joseph Joachim Raff, Robert Volkmann, Wenzel Heinrich Veit, etc In 1865, Dvořák was really to thus have the faith in the future like the symphony. And it was right because, in the shade, the symphony prepares a new life. Johannes Brahms gave two Sérénades between 1857 and 1860: its First Symphony will be completed in 1876. Anton Bruckner is made the hand with two not numbered symphonies: one in minor F, the other in minor D. Its First Symphony official will be finished in 1866. Alexandre Borodine slowly works with its First Symphony of 1862 with 1867, which will be the first great symphony to be born in Russia. These musicians gave a new youth to the kind which becomes again flourishing after 1870.

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