Enjoying Dvo?ák’s Lovely ‘Romantic' Pieces for Violin and Piano
Dvo?ák must have found working on these delightful violin pieces a relief
What do great composers do when they need a respite from creating major masterpieces? They write something relatively simple and small-scale. One immediately thinks of Beethoven's Bagatelles for Piano, and the lyrical, intimate Romances for Violin and Orchestra, Op. 40 and 50, composed in 1802 between several big instrumental and orchestral works. Dvo?ák seems to have followed the same impulse when, between his seventh and eighth symphonies, he wrote “Romantic Pieces for Violin and Piano,” Op. 75, in 1887, while finishing one opera and starting on another.
On the brink of international recognition and overwhelmed with commissions, Dvo?ák must have found working on these delightful pieces a relief. They are actually a transcription of his four “Miniatures,” B. 149, Op. 75a, for two violins and viola, written shortly before as a sequel to another piece for this unusual combination, “Terzetto,” Op. 74. Today, “Terzetto” is played more frequently, probably because the violin and piano version of “Miniatures” has, perhaps unjustly, superseded the original. Indeed, Dvorák's decision to recast them in another form shows that they were close to his heart. Their titles—Cavatina, Capriccio, Romanza, and Elegia (Ballad)—were dropped in the transcription. It is a pity, for they capture the mood and character of the pieces perfectly and offer players a good indication of how to approach them.
“Romantic Pieces” follows an interesting tempo sequence: Allegro moderato, Allegro maestoso, Allegro appassionato, and Larghetto. Nos. 1 and 3 are flowing and lyrical, in the same meter and key (Bb major), and have a rocking, though rhythmically different accompaniment.
However, these similarities are offset by contrasting moods: No. 1 is relaxed, peaceful, and serene, with only two brief moments of passion that immediately subside. No. 3 is intense, ardent, and rapturous, surging in waves of barely contained impetuosity. With a sudden shift to Gb major, the music drops to a dark, mysterious low point, then swells up to its most ecstatic climax.
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