Symphonie

With the cold season comes back the concerts at the philarmonie. This afternoon played Rundfunk-sinfonieorchester Antonín Dvorák "Othello" - Konzertouvertüre fis-Moll op. 93 Konzert für Violine und Orchester a-Moll op. 53 with Boris Brovtsyn, Violine and finally Sinfonie Nr. 7 d-Moll op. 70, conductor Gerd Albrecht. I must say It was very good. There was a very good atmosphere in the concert hall and Boris Broytsyn after his interpretation came back and played for us a little extra, which is always very much appreciated. During the symphonie I could visualize Gerd Albrecht because I was facing him : the stage is in the center of the hall. You can feel the conductor happy to be there and when the musicians made a good step, he thanks them with a little sign and smile, although the piece was sometimes difficult but full of energy. That’s when you say to yourself you’re happy to be there because the music is good and the musicians are not only there to do a job. Dvořák's work on the symphony began on December 13, 1884. Dvořák heard and admired Brahms’s new 3rd Symphony, and this prompted him to think of writing of a new symphony himself. So it was fortuitous that in that same year the London Philharmonic society invited him to write a new symphony and elected him as an honorary member. A month later, after his daily walk to the railway station in Prague, he said “the first subject of my new symphony flashed in to my mind on the arrival of the festive train bringing our countrymen from Pest”. The Czechs were in fact coming to the Prague National Theatre, where there was to be a musical evening to support the political struggles of the Czech nation. He resolved that his new symphony would reflect this struggle. In doing so the symphony would also reveal something of his personal struggle in reconciling his simple and peaceful countryman’s feelings with his intense patriotism and his wish to see the Czech nation flourish. He completed a sketch of the 1st movement in 5 days, and he wrote to one of his friends: “I am now busy with this symphony for London, and wherever I go I can think of nothing else. God grant that this Czech music will move the world!!” Ten days later he finished his sketch of the slow movement. He added a footnote “From the sad years”. This refers to the recent death of his mother, and probably also to the previous death of his eldest child, and these events were in his mind especially in this movement. However, there is also a broader horizon—he wrote to a friend ”What is in my mind is Love, God, and my Fatherland” The movement starts with intense calm and peace, but also includes turmoil and unsettled weather. He told his publisher that “there is not one superfluous note”. In the next month or so he completed the sketches of the 3rd and 4th movements. Dvořák said that the 4th movement includes a suggestion of the capacity of the Czech people to display stubborn resistance to political oppressors. In 1885 it received its brilliantly successful first performance at St James’s Hall London, with Dvořák himself conducting. Despite the success of the 7th symphony, the publication of the work was a nightmare. Dvořák's contracted German publisher, Fritz Simrock, seemed to go out of his way to make difficulties and to irritate him. First, he said he could not consider publishing it until a piano duet arrangement was available. Simrock then flatly refused to print his Czech name, Antonín, on the cover—the publisher insisted that it should be Anton, and that the title page should be in German only. Finally, he was told that the dedication to the London Philharmonic Society would have to be omitted. During all of these prolonged arguments, Dvořák asked Simrock for an advance: “I have a lot of expense with my garden, and my potato crop isn’t very good”. Eventually, Simrock offered only 3000 marks for the symphony, which was a low value for such a major work. Dvořák replied that other publishers would readily pay twice as much. After further argument, Simrock grudgingly paid the 6000 marks. The 7th symphony, together with the 8th and 9th, represent Dvořák at his best, and they each reveal a somewhat different aspect of his personality. The 7th is the most ambitious in structure, and the most consciously international in its message.