Dvorak- Symphony No. 6 in D Major, op. 60 Part II
The second movement is a unique blend of Rondo and Variation form.
II. Adagio
Rondo Variation form
The second movement Adagio begins with a brief wind choir introduction before the rondo theme, lyric and rich, begins at 0:14 in the violins. A solo horn plays theme one motives (0:34) all over lightly pulsing strings. A figure based on a five-note ascent and descent begins at 0:44 in the low strings and is repeated by the winds. A minor variation of the rondo theme ensues as a dialogue between the winds and strings.
At 1:23 the first contrasting episode (theme 2) begins with a forceful string chord followed by a falling and rising wind line over bouncing horns. This figure is repeated and extended into a series of dire-sounding chords by the strings at 1:35. A series of wind chords are answered by inverted theme two motives in the violins and cellos- their roles have been reversed from the opening statement. A lonely-sounding clarinet is accompanied by pizzicato descending strings, horns, and bassoon at 2:11. A horn/wind duet followed by soft wind chords and a repeating 3-note motive leads to a long clarinet descent (3:02) and a return to the rondo theme at 3:21.
After the first phrase, flute and clarinet play a brief duet before a series of ascents lead to another statement of the theme with the violins, horns, flutes, clarinets, and finally the violins restate rondo motives before the transition begins at 4:21.
A soft horn descent is interrupted by a dark and foreboding second contrasting episode. The timpani thunders beneath a series of four-note motives from the rondo theme in the strings and brass (4:45). These motives are then compressed and played quietly by the strings before rondo figures appear in the oboe at 5:11 and are repeated by the horn. These motives grow as the four-note motive begins to return to prominence in the strings (5:38) as the trumpets play a series of fanfare-like notes above the growing wave. Quiet theme one motives at 5:52 in the flutes and echoed by the strings return us to the rondo at 6:16.
The rondo is played in the violins with wind accompaniment. The solo horn at 6:35 is followed by the strings. A series of four-note descents in the winds and violins over pulsing low brass (6:59) are followed by three-note ascents in the cellos with wind flourishes. A flute solo at 7:24 lopes its way downward and lands on a soft chord with quiet timpani strokes in the background. Wind descents are answered with string ascents, which grow and climax at 8:00 before a last statement of the rondo at 8:11, somewhat emptier than earlier renditions. The phrases become more and more separated as the solo oboe and horn play the opening motive of the rondo theme. A tutti theme one at 8:58 resolves to theme one motives in the winds and horn, which end the movement quietly.
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If you are interested in listening to a recording, I recommend Witold Rowicki’s 1996 recording with the London Symphony Orchestra on Philips. You can buy this recording from Amazon by clicking on the image below. Unfortunately this is not available in iTunes, so as a suitable alternative I’ve linked to Sir Colin Davis and the LSO’s 2005 recording.
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