Antonin Dvorak

Widely regarded as the most distinguished of Czech composers, Antonin Dvorák (1841-1904) produced attractive and vigorous music possessed of clear formal outlines, melodies that are both memorable and spontaneous-sounding, and a colorful, effective instrumental sense. Dvorák is considered one of the major figures of nationalism, both proselytizing for and making actual use of folk influences, which he expertly combined with Classical forms in works of all genres. His symphonies are among his most widely appreciated works; the Symphony No. 9 ("From the New World," 1893) takes a place among the finest and most popular examples of the symphonic literature. Similarly, his Cello Concerto (1894-1895) is one of the cornerstones of the repertory, providing the soloist an opportunity for virtuosic flair and soaring expressivity. Dvorák displayed special skill in writing for chamber ensembles, producing dozens of such works; among these, his 14 string quartets (1862-1895), the "American" Quintet (1893) and the "Dumky" Trio (1890-1891) are outstanding examples of their respective genres, overflowing with attractive folklike melodies set like jewels into the solid fixtures of Brahmsian absolute forms. These duets are among some 25 duets Dvorák wrote over the course of his career. They are settings of Moravian folk poems: in fact, 23 out of Dvorák's 25 duets are settings of Moravian folk texts. All of his duets were composed between 1875 and 1877, though the designation Moravian Duets belongs specifically to this cycle of 10 songs, numbered Op. 32. It was this cycle of songs -- and a little help from Brahms -- that would garner, finally, some fame for Dvorák.

When Dvorák began composing his Moravian songs in 1875, he was teaching piano in the home of Johann Neff in Prague. Neff's wife Marie was fond of Dvorák's initial Moravian text settings, and asked him to compose more. Based on Neff's enthusiasm for his songs, and the success of their private premiere late in 1876, Dvorák included the Moravian Duets with some other compositions submitted to the Austian State Prize competition. Brahms, one of the judges for the competition, liked the songs and immediately wrote a letter to the publisher Simrock, extolling the virtues of Dvorák's music and the quality of the duets, and advising Simrock to publish the songs. The songs were published as Airs from Moravia in 1878. Brahms' enthusiasm for Dvorák may well have helped the composer gain notice in Germany and other parts of Europe. Given this, it is ironic that the Moravian Duets are rarely performed today.

Musically, the duets are most notable for their harmonic adventurousness. Dvorák uses modulations to express textual nuances, and also employs harmonic ambiguity and unresolved chords to suggest sorrow or bitterness.

In March 1875 Dvořák composed the first volume of Moravian Duets, the "Three Duets for Soprano and Tenor, with Piano Accompaniment, Op. 20". His sponsor, Neff, was very delighted with them and he therefore asked Dvořák to compose more duets, this time for two female voices. Dvořák again agreed and, between May 17 and 21, 1876, composed the initial five songs, "Duets for Two Sopranos", which he designated in the manuscript as II. Cycle. These duets were originally published separately as Op. 29, then later combined with the Op. 32 publication. The remainder of the second volume was composed between June 26 and July 13, 1876, for soprano and contralto this time, entitled III. Cycle, Op. 32. A year later, in September and October 1877, Dvořák wrote another four duets, published as Op. 38. Dvořák returned to his Moravian Duets several years later in 1880, rearranging selections from Op. 32 for vocal quartet. These works were given number 107 in the Burghauser catalogue. Dvořák completed his large series of duets in 1881 with a final duet, a setting of Moravian folk poetry for soprano and alto, with piano accompaniment: Na tej našej střeše laštověnka nese (Lo, a swallow winging), B. 118.

"Slavíkovský polečko malý" (Blithely towards this field) is the 5th movement from the Cycle II: Duets for Two Sopranos (formerly published as Op. 29, now combined with Op. 32) from Opus 32 Book 60 and was published in 1876.

Although originally composed for Chorus (SATB) and Piano, I created this arrangement for solo Acoustic Piano.