Digital program - Mehta-Abaeva

However, only in October 1889 did the work truly triumph, when Hans von Bülow conducted it in two concerts in Berlin. These performances moved Dvořák so much that he pasted a picture of von Bülow on the title page of the symphony's manuscript and wrote underneath: "Glory be to you! You brought this work to life!". The stormy first movement begins with mutterings of the double-basses, timpani and horns in low and deep tones. They sustain a low D, over which the main theme twists and turns. Agitated figurations follow, and then, in contrast, a melodic and graceful tune in the woodwinds resounds. These develop into a climax, at the peak of which the opening themes reappear. The movement ends, as it began, with the principal theme dying away over a long sustained low D. A tranquil and expressive clarinet melody opens the slow movement, but a subdued agitation creeps into the music and eventually bursts into a gushing middle section, resembling the atmosphere of the first movement. In the concluding section serenity returns, the excitement subsides and the sounds fade into silence. The Scherzo of this symphony is neither joyful nor light, as customary of scherzo movements, but rather energetic, bustling and tense like the first movement. The Trio is fresher and lighter in both mood and texture. The final movement, like the opening one, is written in traditional sonataallegro form, but whereas the tension of the first movement dissipated into silence, the conflict of the Finale concludes in triumphant sounds. The heroic spirit that pervades the symphony is evident from the beginning of the movement. It opens with a yearning and warm theme in the cellos, horns and clarinets. The second contrasting theme, jubilant and cheerful, hints at the happy outcome of the symphonic struggle. The optimistic concluding bars are a powerful and festive reiteration of the principal theme, this time in D major. Orly Tal