Symphony No.6

By the time he was nearly 40, ANTONÍN DVOŘÁK had already achieved considerable success on both the Czech and international concert scene. His Slavonic Dances had been performed in London, and his Slavonic Rhapsody No. 3 in Berlin. In the summer and autumn of 1880, inspired by Czech folk music, he composed his Symphony No. 6 in D Major, Op. 60, commissioned by Hans Richter, chief conductor of the Vienna Philharmonic and one of the foremost champions of his music. For many years, the work was regarded as Dvořák’s “first” symphony, as it was the first to be published—by his German publisher Fritz Simrock in 1882. The Sixth Symphony embodies the composer’s so‑called Slavic period and is often referred to as “Czech” because of the stylization of the folk dance furiant in the third movement. Scholars frequently note the influence of Johannes Brahms, with whom Dvořák maintained close friendly ties. Brahms’ Symphony No. 2, written three years earlier, is often cited as a source of inspiration. Parallels can be traced in the overall mood of the two works, in the tonal unity of the first and fourth movements (both in D major), as well as in the similar tempo markings and approaches to orchestration. The symphony unfolds in four movements. The first, conceived in the spirit of classical sonata form, is notable for Dvořák’s explicit rejection of the traditional repetition of the exposition; in the Prague performance score he wrote firmly: “Once and for all: no repetitions!” The second movement, an adagio, opens with a brief introduction by the winds before the strings present the main lyrical cantilena melody. This nocturne in rondo form has been poignantly described by the composer’s biographer Otakar Šourek as “praising the magic of a summer night.” The third movement, a scherzo, brims with fiery dance rhythms in the style of the furiant, balanced by a pastoral trio that recalls the charm of Dvořák’s Slavonic Dances. In the finale, written in the spirit of Brahms’ Second Symphony, a theme developed in the violins undergoes dramatic transformation, culminating in a vigorous, life‑affirming conclusion. After completing the work, Dvořák wrote to his publisher Fritz Simrock about the new symphony and his intention to travel to Vienna to perform it with the Philharmonic. He emphasized how deeply he valued the piece: “I put a lot of effort into creating this work, worthy of great things, and it brought me a lot of pleasure.” When he presented a piano version to Hans Richter, the conductor was delighted. On this occasion, Dvořák informed his friend Alois Göbl: “Dear friend! I am in Vienna, where I have heard so many wonderful things that I cannot even describe them to you on paper. Richter liked the symphony so much that he kissed me after each movement; it will be performed for the first time on December 26, and then it will go to London!” Yet the premiere with the Vienna Philharmonic never took place. The orchestra’s musicians refused to include works by a relatively new Czech composer in their program for two consecutive seasons—his Slavonic Rhapsody No. 3 had been performed the previous year. The symphony was not heard at the Vienna Philharmonic until six decades later, in 1942. The premiere of Dvořák’s Symphony No. 6 took place in Prague on March 25, 1881, conducted by Adolf Čech, and was a resounding success. The audience’s enthusiastic and unrelenting applause led to an encore of the third movement. Hans Richter conducted the symphony the following season at a Philharmonic Society concert in London. Writing to Dvořák, he reported: “This morning we had our first rehearsal of your wonderful work. I am proud that it is dedicated to me. The orchestra is truly delighted. The performance is on Monday, the 15th, at eight o’clock in the evening. I am sure it will be a great success. But after all, it was rehearsed with love.” Following its Prague premiere, the symphony quickly gained international recognition. Within the first two years, it was performed in Leipzig, Rostock, Dresden, Cologne, Frankfurt, Wrocław, Vienna, and Budapest, and in 1883 it reached New York. These performances helped to popularize Dvořák’s music on the international stage and firmly established his reputation as one of the leading composers of his time.