Dvořák — Przegendza — Mozart

Originally composed as a piano piece, The American Suite was orchestrated by Dvořák in 1895, shortly after his return to the United States. However, the orchestral version was released only in 1910, six years after the composer's death, and was released a year later. The work is characterized by general simplicity — themes, melodies, rhythmics and harmonics; each of the five parts refers to dance inspirations and loosely refers to the main theme exhibited in the opening Andante con moto Suite. They combine European tradition with musical influences from the New World: there are inclinations towards pentatonics, modalism, but also a subtle ambivalence between the major and minor modes. He thus creates a new, individual type of American music permeated by the surrounding environment, in the last part of the Suite manifesting itself in a special way by juxtaposing a thought inspired by Native American melodies with a theme native to the South of the United States. The work has not achieved a success comparable to other positions in his American work, criticized for its lack of coherence; yet the American Suite is as graceful as it is multicolored.

The main premise of Przegendza's Symphonic Dialogue is the study of the multidimensionality of the title dialogue between solo and tutti parts. The narrative is characterized by a changeable, turbulent and even emotionality: the violin part enters into tense interactions with the orchestra, in which the individual voice clashes with the opposing symphonic sound. Violent moments, however, give way to moments of silence that bring about a melodic agreement between the soloist and the orchestra. The exchange of musical thoughts takes on various forms in the work, which evolve—along with the moods and types of relationship between the violin and the orchestra—illustrate the very nature of dialogue, as the composer himself claims: “from discerning differences, through the search for compromise, to reaching mutual consensus”.

“The introduction is so solemn that it will surprise even the most frigid listener and layman [...]. Further, [the Symphony] becomes fiery, full, great in the richness of its thoughts, with the striking diversity of all the parts, and it becomes almost impossible to follow it by ear and affection, and even paralyzes” - in these words a certain Ivan Anderwitsch summed up his impressions after listening to Mozart's 39th Symphony at a concert in Hamburg in March 1792 year. This is the earliest known account of the performance of this remarkable work — it is not even known whether it was measured during the composer's lifetime. The first of the last three — and at the same time the greatest — symphonies of Mozart, was composed in the summer of 1788, during an extremely fertile period for the composer. It is distinguished by an extraordinary construction: preceded by a majestic introduction in the style of an overture, it is not crowned with any code. This characteristic led the conductor and musicologist Nikolaus Harnoncourt to propose that the symphonies 39, 40 and 41 should be treated as one great, three-part work. The 39th Symphony differs from its predecessors by a particularly extensive group of the second theme in the first part, preserved in sonata form, but also by considerable independence. lots of wind instruments. The sonata form also returns in Andante con moto, albeit in a form devoid of processing. The colorful minuet is juxtaposed with a trio based on the folk ländler with characteristic clarinet arpeggios. The Wartka finale, which is the third paragraph based on the sonata form, is characterized by a particularly dramatic processing, the repetition of which together with the reprisal replaces the traditional code.