Symphony No.8 in G major, Op.88

The Czech element in Dvorak’s musical personality is evident in just about everything he wrote - although when he wanted to make a classical impression, as in his Seventh Symphony, he could very effectively suppress his Bohemian instincts. That, however, was the last thing he wanted to do in his Eighth Symphony, which he started in the late summer of 1889 in the peaceful surroundings of his country home in Vysoká. It is true that the main theme of the Allegretto grazioso third movement seems almost Brahmsian in its Viennese waltz-time lilt, in spite of the sounds of the countryside in the woodwind trills behind its first appearance on violins. The new melody introduced by a solo oboe in the middle section, on the other hand, is pure Bohemian folksong. If its national characteristics are less clear when it reappears at the end of the movement in a much quicker tempo it is no less effective an ending for that.

A celebration of the Bohemian countryside, where it was conceived in the late summer of 1889, Dvorák’s Eighth Symphony is remarkable for the absence of conflict in it. The opening Allegro con brio begins in nostalgia and ends with a confirmation of the happy associations of the bird-call theme, first heard at an early stage on solo flute, as the final message. If there is a faintly regretful quality about the start of the Adagio, its essential character is determined by two serenely tuneful episodes with a melodic line gracefully poised over echoes of a village-band accompaniment. The Allegretto grazioso is an elegant waltz effectively offset by the more rustic dance of the middle section. Although it begins with a trumpet fanfare, the finale is based on the eloquent melody introduced by cellos. It proceeds for the most part as a set of variations, including a particularly exuberant episode with trilling horns and the whole orchestra fortissimo, and ends in jubilation.

The Czech element in Dvorak’s musical personality is evident in just about everything he wrote - although when he wanted to make a classical impression, as in his Seventh Symphony, he could very effectively modify or even suppress his Bohemian instincts. That, however, was the last thing he wanted to do in his Eighth Symphony, which he started in the late summer of 1889 in the peaceful surroundings of his country home in Vysoká. Strangely enough, although the sounds of the Bohemian countryside are plainly evident in the first three movements, the Allegro ma non troppo last movement has more universal ambitions. Beginning with a fanfare for two trumpets, it is based on the eloquent melody introduced by cellos with the support of pizzicato basses and a bassoon. It proceeds as a set of variations, except that Dvorák so much likes the second of them - an exuberant episode with trilling horns and the whole orchestra fortissimo - that he spontaneously repeats it after the elaborate flute solo of the third variation. This inevitably upsets the variation pattern, which is resumed only after a central march section based on the opening fanfare. Even then it is interrupted by a another thrilling recall of the fortissimo second variation, which drives the work irresistibly to its conclusion.

“The Symphony in G minor,” Dvorák declared, “is different from the others, with individual thoughts worked out in a new way.” A celebration of the Bohemian countryside, where it was conceived in the late summer of 1889, it is remarkable for the absence of conflict in it. Instead of confronting each other, as they had in the classically orientated Seventh Symphony four years earlier, major and minor modes blend and merge with each other in parallel with the mixed feelings of joy and nostalgia that inspired the work.

The first movement opens in nostalgia, with the lovely melody in G minor on lower woodwind and cellos, but neither that key nor the emotion associated with it is to predominate. They are destined to remain in the background behind such high-profile material as the bird-call theme that emerges fresh and innocent on solo flute and is proclaimed later by the whole orchestra as the true first subject in G major. The lilting second subject, presented by flutes and clarinets over a dancing triplet figuration in the strings, carries nostalgic harmonies with it but gracefully and without being weighed down by them. Later appearances of the G minor introductory theme merge straight into G major and, eventually, a confirmation of the happy associations of the bird-call theme as the final message of the movement.

If there is a faintly regretful quality about the opening of the Adagio, another bird-call theme - on flutes answered by drawling clarinets - restores the idyllic atmosphere. Although the opening material assumes a dramatic role at times, the character of the movement is determined by two serenely tuneful episodes with a melodic line gracefully poised over echoes of a village-band accompaniment on pizzicato cellos and basses.

As in the first movement, the G minor tonality of the opening theme of the Allegretto grazioso carries no sinister implications. It is an elegant waltz effectively offset by the more rustic dance of the middle section and its cheerful variant in the molto vivace coda.

Although it begins with a trumpet fanfare in D minor, the finale is based on the eloquent melody introduced by cellos in G major. It proceeds as a set of variations, except that Dvorák so much likes the second of them - an exuberant episode with trilling horns and the whole orchestra fortissimo - that he spontaneously repeats it after the elaborate flute solo of the third variation. This inevitably upsets the variation pattern, which is resumed only after a central section based on the opening fanfare. Even then it is interrupted by a last recall of the fortissimo second variation, creating an irresistible pressure towards the coda and a jubilant G major ending.

The Eighth was the last symphony Dvorak was to write in his native Bohemia (or what is now the Czech Republic). Obviously, he could not have known at the time that his Ninth would be written in the New World and that he would compose no more symphonies after that. But, while the Symphony in G major happily celebrates the Bohemian countryside - Dvorak started work on it at his country home in Vysoká in the later summer of 1889 - there is something regretful about it too.

The composer himself declared that the Eighth Symphony is “different from the others, with individual thoughts worked out in a new way.” Whatever he meant by that, it is remarkable for the absence of conflict in it. Instead of confronting each other and striving to achieve some kind of resolution by the end of the symphony, as they had in the classically orientated Seventh four years earlier, major and minor tonalities blend and merge with each other here in parallel with the mixed feelings of joy and nostalgia that inspired the work.

The first movement opens in nostalgia, in the lovely melody introduced in G minor on lower woodwind and cellos, but neither that key nor the emotion associated with it is to predominate. They are destined to remain in the background behind such high-profile material as the bird-call theme that emerges fresh and innocent on solo flute and is proclaimed later by the whole orchestra as the true first subject in G major. The lilting second subject, presented by flutes and clarinets over a dancing triplet figuration in the strings, carries nostalgic harmonies with it but gracefully and without being weighed down by them. Both reappearances of the G minor introductory theme in the development - first on cellos and later on trumpets - merge straight into G major and, eventually, a confirmation of the happy associations of the bird-call theme as the final message of the movement.

If there is a faintly regretful quality about the opening of the Adagio, another bird-call theme - on flutes answered by drawling clarinets - restores the idyllic atmosphere. Although the opening material assumes a dramatic role at times, the character of the movement is determined by two serenely tuneful episodes with a melodic line poised on woodwind or violins over echoes of a village-band accompaniment on pizzicato cellos and basses.

As in the first movement, the G minor tonality of the opening theme of the Allegretto grazioso carries no sinister implications. It is an elegant waltz effectively offset by the more rustic dance of the middle section and its cheerful variant in the molto vivace coda.

Although it begins with a trumpet fanfare in D minor, the finale is based on the eloquent melody introduced by legato cellos in G major. It proceeds as a set of variations, except that Dvorák so much likes the second of them - an exuberant episode with trilling horns and the whole orchestra fortissimo - that he spontaneously repeats it after the elaborate flute solo of the third variation. This inevitably upsets the variation pattern, which is resumed only after a central section based on the opening fanfare. Even then it is interrupted by a last recall of the fortissimo second variation and its irresistible pressure towards the coda and a jubilant G major ending.

Rupert Avis

In spite of his increasing mastery of the form in his first six symphonies, Dvorak achieved the ultimate distinction only in his Seventh in D minor in 1885: here at last was a symphony which could safely be compared in terms of style and structure with the best of Brahms. After that he was able to relax and write a symphony to please himself - which is precisely what he was doing when, in the late summer of 1889 and in the peaceful surroundings of his country home in Vysoká, he started work on his Eighth in G major.

It is, as the composer described it, “different from the others, with individual thoughts worked out in a new way.” Even his use of tonality, of major and minor key symbolism, is different. There is, for example, nothing inimical about the expressive G minor melody at the beginning of the work. It does not come into conflict with G major so much as merge into it, and when it does - to provide a simple harmonic support for the innocent bird-call first subject on a solitary flute - we know we are in the right place. We remain in the right place, which is plainly the Bohemian countryside, for the rest of the movement. The B minor tonality of the lilting second subject, introduced by flutes and clarinets over a dancing triplet figuration in the strings, does not reduce the happiness of the situation. Nor do the two G minor reappearances of the introductory melody - at the beginning and end of the development section - not least because on each occasion it duly merges into G major.

There is a faintly regretful quality about the opening of the slow movement. In spite of the E flat major key signature, however, the true tonality of the Adagio is C major - the idyllic significance of which is signalled by another kind of bird-call on flutes, answered this time by drawling clarinets. Although the opening E flat material assumes a dramatic role at times, the character of the movement is determined by two delightful episodes in C major, where the melodic line is poised gracefully on woodwind or violins over echoes of the village cimbalom on pizzicato cellos and basses.

As in the first movement, the G minor tonality of the opening theme of the Allegretto grazioso carries no sinister implications. It is an elegant waltz effectively offset by the more rustic dance of the middle section and its cheerful variant in the molto vivace coda.

Characteristically, although it begins with a trumpet fanfare in D minor, the finale is based on the eloquent melody introduced by legato cellos in G major. It proceeds as a set of variations, except that Dvorák so much likes the second of them - an exuberant episode with trilling horns and the whole orchestra fortissimo - that he spontaneously repeats it after the elaborate flute solo of the third variation. This inevitably upsets the variation pattern, which is resumed only after a central C minor sections based on the opening fanfare. Even then it is interrupted by a last recall of the fortissimo second variation and its irresistible progress into the coda.