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Zach Loving
12/8/17
Music History II
Antonin Dvorak is one of the foremost and best known composers to come from the
Czech Republic. His music is still played across the world now and will most likely continue to
be performed in the foreseeable future. His training started at a young age and continued
throughout his career. In fact, it is possible to see a transition in his music from a wagnerian style
to a one that is more closely related to Brahms. This shift becomes clearer with an analysis of a
few key components. First, the context in which the three composers lived and was raised in.
review of any contact they had. Finally, a comparison of a late Dvorak symphony and a Brahms
symphony and the contact they had with one another. Upon completion of these steps it becomes
clear that Dvoraks compositional style shifted from one similar to Wagner to one that reflects
To fully understand the influence of Brahms and Wagner on Dvorak one must first
review the lives of each composer to both find situations in which they may have encountered
one another and to interpret whether or not the similarities in music arised from common
Dvoraks upbringing as a musician is very similar to many other composers of the time.
He was born in Nelahozeves on September eighth of 1841. His father was a butcher and
2
innkeeper; however, he also played zither for his guests and later in his life as a professional. He
attended school in town and began his first musical training as a singer and violinist from Kantor
Joseph Spitz. Eventually he graduated from the Prague Organ School and joined Karel Komzaks
band. This band eventually formed the orchestra for the newly founded Provisional theatre.
While there Dvorak was exposed to many morks from italian opera to French grand opera.1
Smaczny wrote in her entry on Dvorak that Although Wagners musical style was a major
influence on a number of Dvoraks operas, Wagners operas were notably absent from the
repertory of the Provisional Theatre. This being said Smaczny says that Dvorak played the
overture to Tannhauser and preludes to Tristan and Isolde with Wagner as the conductor.2 Later
in his life Dvorak created a strong bond with Brahms which will be showcased through the
Brahms was born in 1833 in Hamburg, Germany. His father was a musician and was able
play many instruments. However, Brahms family was financially unstable due to his fathers
insensible spending. Even so both of his parents were devoted to their children. Brahms studied
piano, cello and horn. He was eventually accepted for lessons free of charge. Later in life
Brahms influences included Bach and Beethoven, as well as, the poetry of Eichendorff, Heine
Richard Wagner was born in Leipzig, Germany in 1813 to unknown parents and was
raised by actor/painter Ludwig Geyer. He began his formal education in 1822 in Dresden,
Germany. His first professional job was as chorus master at the theatre in Wurzburg. There he
1
Smaczny. "Dvok, Antonn."
2
Ibid
3
Bozarth."Brahms, Johannes."
3
was exposed to a large variety of repertoire. As a composer Wagners operas are some of the
best known and ground breaking that came from the romantic era. In addition to compositions
Wagner was an active writer and wrote many controversial anti-semitic essays.4
Now that the context in which Dvorak wrote many of his works has been established one
must compare his work to that of Wagner. Throughout many of Dvoraks early pieces one can
see his wagnerian tendencies. For example Dvorak had A tendency to headline complex
ninth-related chords (notably bar 26 of the first movement of the second symphony) and a
startlingly obvious reference to Tannhuser in the opening ritornello of the first movement of the
A major cello concerto (for cello and piano, B 10, bb. 119-127)5 Later on in the same article
Smaczny points out even more quotes and similarities between Tannhauser and Dvoraks
works. In Dvoraks third symphony the Adagio molto, tempo di marcia features a harp in
addition to the standard orchestra and features an even more march-like central section that is a
homage to Tannhauser.6 Finally, the second movement of Dvoraks fourth symphony features
almost identical orchestration and harmonies as the Tannhauser overture; as well as, melodic
Dvorak uses wagnerian traits beyond those used in Tannhauser as well. This is seen in an
excerpt by Marie Sumner Lott. She wrote The four quartets he composed in 1870 and 1873, on
the other hand, contain a variety of more modern resonances laden with Wagnerian and
4
Millington, "Wagner family."
5
Smaczny, "That great little man", 6.
6
Ibid, 10.
4
forms, and themes borrowed from sections of Wagners Rienzi These include his string quartet
In order to say for certain that these musical examples are truly inspired by Wagner in
some way one must prove that Dvorak was exposed to Wagners music. In addition to this, their
interactions make Wagners influence on Dvoraks early works undisputable. Dvorak first
became aware of Wagners music early in his career while playing with the Provisional Theatre
orchestra. His adoration of Wagner is clear in an account he wrote to The Sunday Times. He said
I was perfectly crazy about him, and recollect following him as he walked along the streets to
get a chance now and again of seeing the great little mans face.8 Finally, Dvorak himself
writes, in an account to The Sunday Times that he was influenced by Wagner. one of my chief
ambitions when I began to compose was to write an opera. My first attempt was one called
Knig und Khler [The King and the Charcoal Burner]. The influence of Wagner was strongly
shown in the harmony and orchestration. I had just heard Die Meistersinger, and not long
These points clearly show that Dvorak looked up to and saw Wagner as a influence in his
music. However, as he aged the main musical influence he had switched to Brahms. He still
employed some of the compositional tools used by Wagner but his style was overwhelmingly
Brahmsian.
Dvorak and Brahms most likely became aware of one anothers music in the Early to Mid
1870s.10 However, there is no definite proof that they knew of each other until 1877. At this
7
LOTT, "The Diversity of Dvoks String Quartet, 220.
8
Smaczny, That great little man", 6.
9
Ibid, 7.
10
Beveridge, Dvorak and Brahms, 58.
5
time Eduard Hanslick, a judge for a composition competition Dvorak had won, suggested that
Dvorak write Brahms. After they established a relationship we begin to see the influence of
Brahms on Dvorak.11 Dvorak began sending his works to Brahms to go over before publishing.
In a letter to Simrock, a publisher, Dvorak said that he would lay the work first of all before
Meister Brahms for his inspection."12 Additionally, Dvorak requested Brahms scores from
Simrock on multiple occasions and his comments were always appreciative.13 Dvorak even
In addition to the obvious appreciation the two composers had for one another there are
musical similarities between the two. Dvorak Symphony No. 6 is clearly connected to Brahms
Symphony No. 2 In fact the first and final movements of both works have the same scoring,
tempo, meter and key.15 They also have nearly identical formal and harmonic analysis
throughout. Brown also points out that both pieces exploit the hemiola possibilities of triple
meter.16
Antonin Dvoraks music is a blending of many styles and has many influencers.
However, the largest of these earlier in his life is Wagner which then transfers to Brahms later in
his career. This influence becomes clear after an examination of first the composers lives, second
a analysis of the similarities between Dvorak and Wagners music as well as there relationship
and finally a comparison of Dvorak and Brahms music and their relationship.
11
Ibid, 59.
12
Ibid, 77.
13
Ibid
14
Dedicated to Johannes Brahms, 437.
15
Brown, The Symphonic Repertoire, 373.
16
Ibid
6
Bibliography
Bozarth, George S., and Walter Frisch. "Brahms, Johannes." Grove Music Online. 5 Dec. 2017.
http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.
0001/omo-9781561592630-e-0000051879.
Brown, A. Peter. 2002. The Symphonic Repertoire. Volume IV. Bloomington, Ind.: Indiana
University Press
Dedicated to Johannes Brahms. In Brahms and His World: (Revised Edition), edited by
FRISCH WALTER and KARNES KEVIN C., 433-40. Princeton University Press, 2009.
http://www.jstor.org/stable/j.ctt7rxmx.26.
Dvorak, Antonin. Concerto per Violoncello Leipzig: Breitkopf und Hrtel, 1930.
http://www.jstor.org/stable/10.5749/j.cttts92j.20.
Jost, and Paul Sheren. "Wagner family." Grove Music Online. 5 Dec. 2017.
http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.
LOTT, MARIE SUMNER. "The Diversity of Dvoks String Quartet Audiences." In The Social
http://www.jstor.org/stable/10.5406/j.ctt15hvxxk.13.
7
Millington, Barry, John Deathridge, Carl Dahlhaus, Robert Bailey, Elizabeth Forbes, Christa
0001/omo-9781561592630-e-0000029769
http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.
0001/omo-9781561592630-e-5000008450.
---. "'That great little man": Dvorak and Wagner'. In A. Belina, & S. Muir (Eds.),
Wagner in Russia, Poland, and the Czech Lands (pp. 93-119). Ashgate: Farnham:
Ashgate Publishing.