Symphony 6

There is something immensely comforting about the music of Antonin Dvorak. However much we may enjoy the exhilaration and challenges of other composers, returning to that period of music when the classical form was being expanded by the romantic symphonists is an indulgence that can bring great pleasure. A pity then that Dvorak's Sixth Symphony is not so often performed, as it is a lovely work full of melodic invention, rich harmony and invigorating rhythms.Iindeed, so popular was the third movement at the work's première, that it had to be repeated.

The symphony, written in 1881, was dedicated to Hans Richter, the conductor of the Vienna Philharmonic Orchestra. Richter was most enthusiastic and Dvorak was able to report to a Czech friend that "He likes the symphony tremendously; so much so that when I played it to him on the piano he embraced me after each movement". Although Richter promised to give the first performance at the end of the year, there was a delay as the Vienna Philharmonic was too overloaded with concerts to prepare the new work properly and there was opposition from some of its members. Dvorak, certainly hurt by this rejection, allowed the Prague Philharmonic the first performance, leaving Richter to give his first reading at the Crystal Palace, London, in May 1885.

Scored for the standard symphony orchestra of the time, each of the symphony's four movements is constructed to give coherence and balance to the whole structure. The first movement is cast in a gentle yet flowing style with the opening simple theme, adapted from a Czech folksong, uplifted to moments of great power. It is a tribute to the skills of the composer that, even while the music is constantly beguiling the listener, this seemingly innocent sounding theme can be so transformed and expanded that it forms the basis of a whole symphonic movement. This development of an idea, of course, gives the music its intellectually and emotionally appealing integrity. The listener has no need to be aware of this tightly-knit writing but will certainly respond to the seamless way in which the music is carried forward and the satisfying way that it concludes with not one bar of superfluity. Dvorak's slow writing is always richly melodic so it is no surprise that, after a few bars of introduction from the wind section, the first violins are found expounding a singing melodic line from which he draws the thematic material for the whole of the second movement. The following "Furiant" is a Bohemian dance of such rhythmic attractiveness that we might all be swaying along with the orchestra. Pausing only to catch breath during a slower, more melodic interlude, the furious rhythm is whipped up again - it's exciting, infectious and fun.

It is inevitable that the music of Dvorak is compared with his contemporary and friend Brahms. They used the same musical language and they were both symphonic traditionalists. Thus the opening of the Finale is strikingly similar to the corresponding movement in Brahms' Second Symphony. However, Brahms was German and Dvorak Bohemian and national feelings soon come to the fore giving a characteristic zest and momentum to Dvorak's spirited music. This is a symphony to cherish; guaranteed to lift those winter blues.