Violin Concerto in A minor, Op. 53 Antonín Dvořák (1841-1904)
BRAHMS’ THIRD AND TESSA LARK
Fritz Simrock, the prominent German publisher, was encouraged by no less a composer than Brahms to take a chance in publishing Dvořák’s music. Eventually, especially after the huge success of the Slavonic Dances for orchestra, Simrock became Dvořák’s primary publisher. In 1879 Dvořák sent him several pieces including the Romance for violin and orchestra. Knowing that there were violinists who admired Dvořák’s music, Simrock suggested to him that he also write a proper concerto.
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Although Dvořák was an experienced violist, playing in an orchestra conducted by Bedřich Smetana, he nonetheless decided to consult with the great German virtuoso Joseph Joachim about the concerto. It may not have been the best idea! Joachim was a traditionalist and expected a full statement of the first movement themes by the orchestra before the soloist enters. Instead, Dvořák has the orchestra play a few dramatic measures and then the soloist comes right in with a powerful Slavic melody. This truncated form is similar to that found in the big concertos by Mendelssohn and Bruch. Dvořák also cuts short the standard re-statement of the themes and has the first movement seamlessly connect into the second movement. Although Joachim never specifically complained to Dvořák about this novel approach to the concerto form, neither did he ever publicly perform the concerto. In all fairness, however, the suggestions that Joachim made concerning the solo violin writing were gratefully incorporated by the composer. The concerto was written and completed in the summer of 1879 when Dvořák was 37 years old. After significant revisions, it was sent to Joachim for his review. The two actually ended up playing it together at Joachim’s home in Berlin, which resulted in a few final tweaks. Although it was warmly dedicated to Joachim, Dvořák asked František Ondříček, a prominent Czech violinist and composer, to give the premier in Prague in October of 1883. As stated, the first movement dramatically opens with the solo violin playing the main melody. Soon there is a pensive contrasting melody in C major, but it never really gets established as one would expect. The themes are repeated a few times, until finally the main theme is played one last time, a 86
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fading echo, as the first movement dissolves into the second. The adagio is calm and expansive with wonderful orchestral colors throughout. The third movement is labeled “allegro giocoso” and it is indeed a playful, jocular piece. It is in the style of a furiant, a popular Bohemian dance that features cross-rhythms, making it seem as if it is constantly changing meter. Dvořák had used the same dance style in his popular 8th Slavonic Dance. The movement finishes with the solo violinist playing a wild flurry of octaves and arpeggios, capping off this significant example of a Czech concerto.
Symphony No. 3 in F major, Op. 90 Johannes Brahms (1833-1897)
“I shall never write a symphony! You can’t have any idea what it is like to hear such a giant marching behind you.” Thus did Brahms write in a letter to a conductor friend in 1872, referring, of course, to Ludwig van Beethoven. In fact, Beethoven was such a towering figure for most composers in the 19th century that it took great effort and willpower to say anything musically new. Yet Brahms eventually did attempt to compose a symphony and finished his first in 1876 and his second a year later. He had finally hit his stride, most likely buoyed by the praise from fellow composers like Hans von Bülow and Richard Strauss. Over the next few years Brahms wrote his second piano concerto, the Academic Festival Overture and the Tragic Overture. In 1883 he completed the third symphony which was premiered by the Vienna Philharmonic on December 2nd. There is a motive which occurs throughout the symphony, either melodically or in the bass line – F A F – and it has a rather humorous story behind it. In 1853, Joachim had adopted the motto “Frei aber einsam” (“free but lonely”) in reference to being a bachelor. Three of his friends, specifically Brahms, Robert Schumann and Albert Dietrich, used the first letters of that motto – F A E – to create a violin sonata in honor of Joachim. By the time Brahms started writing his 3rd symphony, he declared himself “Frei aber froh” (“free but happy” – a very proud bachelor!) and thus we get F A F. The first movement opens with two grand chords, the first F and A, then the actual melody pours in from the violins, supplying the third F an octave
