Dvorak Serenade for Strings in E Major, Op. 22

Serenade for Strings in E Major, Op. 22

Antonin Dvorak (1841-1904)

Antonin Dvorak grew up in humble circumstances, the son of an innkeeper/butcher who was also a gifted amateur musician. He found his way to Prague as a teenager, becoming a skilled violinist (also performing as a violist, organist and pianist), living from hand to mouth for a number of years before beginning to win success in his early thirties. His compositions came to the notice of Johannes Brahms, who was instrumental in bringing Dvorak to the attention of publishers and influential figures in the Viennese musical world. The violin remained Dvorak’s principal instrument, and not surprisingly there was to be a large body of compositions written for strings, including concerti for violin and cello, four piano trios, and fifteen splendid string quartets.

The Serenade for Strings was composed in the spring of 1875, and first heard in December, 1876 at a Jubilee concert of the Friendly Society of the Czech Theatre Orchestra---an ensemble in which the young Dvorak had performed in the years before his first success as a composer. The word “serenade” had begun to appear in the work of a number of late-19^th century composers, having largely disappeared from the musical world after the age of Mozart and Beethoven. Perhaps the best-known example of this revival of the term “serenade” is the wonderful Serenade for Strings of Tchaikovsky, but as well there are the two orchestral serenades of Brahms, and others by Max Reger, Hugo Wolf, Edward Elgar, and (in America) Arthur Foote.

As with the Tchaikovsky Serenade for Strings, the Dvorak work is an unabashed audience-pleaser, gracious and warm in its Romantic textures, expressive melodic character and charm.

There are five movements: a rich and sweet-natures opening Moderato (cast in a simple sonataform, with a sprightly secondary theme to form contrast to the melting lyricism of the opening); a Tempo Di Valse” second movement, exhibiting all the suavity and singing qualities so unique to string ensemble music; a Scherzo filled with lithe energy and sprightly melodic figuration; a Larghetto slow movement written with a full heart, brimming with deep feeling and tenderness; a nimble, dashing finale, showing the bright colours and melodic inflection of Czech folkmusic, swinging to a zestful conclusion.

NCO Concert