Dvorak brings his symphony to a majestic close. In two parts due to youtube length limitations.
VIDEO
VIDEO
Like the first movement, the fourth begins not with its main theme but with an introduction. 00:00:47
23.
The main theme: an imposing march, introduced by trumpets and trombones, with timpani 00:00:48
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The main theme, part two. A codetta – like passage closes off the march 00:01:01
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The ‘transitional’ theme, while outwardly contrasting, is actually a hidden variant of the march. 00:00:53
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A point of future obsession 00:00:16
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The second half of this ‘transitional’ theme is given to the winds the strings have finished. 00:00:16
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The ‘obsession’ takes root, with a ten – fold repetition, before the arrival of the second subject. 00:00:57
29.
The hidden traps in sonata – form terminology: ‘second main theme’ vx. ‘second subject’ 00:02:31
30.
The unexpected entry and subsequent ubiquity of ‘Three Blind Mice’ 00:01:23
31.
We meet the mice again, now in the cellos and double – basses, where they persistently refuse to run. 00:00:36
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More ‘Three Blind Mice’ material 00:00:30
33.
The mice return to the basement, where the bassoons have joined the cellos and double – basses. 00:00:19
34.
Next, they are back with the clarinets who pass them back to the cellos 00:00:18
35.
Now they return to the high winds, delicately trilling. 00:00:15
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Relief, at last: the mice back off, making way for a remainder of the main theme from the trumpets. 00:00:34
37.
The mice yield to woodpeckers; the main theme is now doubled in speed 00:01:07
38.
The triplets of the ‘transitional’ theme are now handed down through strings 00:00:23
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Reminders of past movements begin to fly by, thick and fast, sometimes very fast. 00:00:28
40.
In fact there are three bits of quotation going on here simultaneously. 00:00:23
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The violas react every time the ‘Goin’ Home’ theme is quoted by the winds. 00:00:35
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The rhythm of the opening of the ‘Goin’ Home’ theme dominates, transformed by trumpets 00:00:35
43.
The march theme reappears as a Mendelssohnian fairy; the main theme from the 1st mov. now returns. 00:01:55
44.
We reach an interesting point: have we heard the beginning of the recapitulation, or not 00:01:05
45.
Perhaps this is it Back for a reminder of the theme proper, as we first heard it 00:01:41
46.
Tovey places the start of the recapitulation here. 00:01:27
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The main theme recast in pathetic rather than heroic terms – and with magical scoring 00:01:51
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This unexpected crisis in confidence plays a major role in the overall dramatic impact of the mov. 00:01:49
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The main theme returns – not complete, but chopped up into shorter and shorter fragments. 00:01:30
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A glorious thematic stew; high drama, a powerful build – up… but then 00:00:56
51.
The dramatic highpoint of the mov., an astonishing transformation, but first, back to the original 00:01:26
52.
The same chords again, this time blasted out by the entire wind and brass sections 00:01:09
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