Sextet in A major op.48 (Dvořák)
The Sextet in A major for two violins, two violas and 2 cellos op. 48 wrote Antonin Dvorak between 14 and 27 May 1878 in Prague . Stylistically it is kept in close contact with Czech folk music. This can be explained by the first international successes of Dvořák's compositions at this time, which prompted the composer to emphasize his musical origin.
The work was premiered on July 29, 1879 in Berlin by the enlarged Joachim Quartet ( Joseph Joachim , Hegemeister, Wirth, Kottek, Robert Hausmann , Diepert).
It was published by Simrock in Berlin in September 1879.
A performance of the work lasts about 31 minutes.
History of origin
Dvořák wrote the first movement in the version of the score from May 14th to 20th, the second by the 24th, the third and the fourth by May 27th, 1878, all in Prague . The sextet thus came into being one month after the first series of Slavic dances and between the two Slavic rhapsodies .
Sentence descriptions
1st movement: Allegro moderato
4/4 time, key: A major
The first movement shows the clear structure of a sonata main movement . In spite of Dvořák's own expansiveness of the themes, the exposition takes place as standard, whereby the final part in the first half contains quotations from the main theme and ends with hints of the secondary theme . The latter also directs the implementation of an in which also easily imitating echoes of the main subject is to be examined. The recapitulation initially repeats the entire exposition. The only difference is the relocation of the secondary topic and the final part from C sharp minor or C sharp major to F sharp minor or F sharp major . The movement closes with a lively, intensified coda , which only develops the main theme.
2nd movement: Dumka
The second movement Dumka , incidentally the first of its kind in Dvořák's chamber music, essentially shows a symmetrical three-part rondo form, but with doubled corner parts in which a calm polka (Poco Allegretto, 2/4 time, D minor ) with five bars Theme takes over the main part. The secondary part is a dance song (Adagio, quasi tempo di marcia, 4/8 time, F sharp minor ) with an eastern, almost gypsy touch. A dreamy lullaby (Andante, 3/8 time, F sharp major ) is embedded in the middle of the movement .
3rd movement: Furiant (Presto)
3/4 time, key: A major
The third movement is actually called Furiant, unjustifiably, because it does not show the typical alternation between two- and three-bar rhythm for the Czech folk dance of the same name . Nevertheless, Dvořák's choice of this movement name is understandable, as his rhythmic fire reminds us of the Furiant movements from the Slavonic Dances , to the first of which there is even a certain thematic relationship.
4th movement: Allegretto grazioso, quasi Andantino
2/4 time, key: B minor → A major
The last movement consists of a theme with six variations. The theme has a decidedly song-like character. The variations essentially retain the harmonious structure of the theme. In the first variation, an eighth note movement is combined with triplets. In the second variation, sixteenths passages are canonically imitated. In the third variation, the rhythmic playing of the solo violoncello is accompanied by sustained notes from the other instruments. The fourth variation also shows a combination of eighth notes and triplets, but in a different arrangement than in the second variation. The fifth variation brings calm sounds from the violins, accompanied by swaying sixteenth-note figures and eighth-note pizzicati. The last variation, a broad stretta , brings the work to a stormy conclusion.