Dancing Band

Description

from Skočná op. 46 n. 7 (1872)

Concert piece

by Antonín Dvořák
arr. Picarband

Antonin Dvořák (1841-1904) moved within the Romantic movement, which prominently featured the typical Slavic dances, composed in Opus 46 for piano four hands in the spring of 1878. They were then transcribed for orchestra at the request of the Berlin publisher Simrock, and released alongside Brahms’s Hungarian works.

For the Slavic Dances, Dvořák not only used “folk” thematic material; he also composed original melodies, the latter featuring various types of dance movements and based on traditional rhythmic patterns, with Dvořák choosing to introduce further, pleasing influences.

To formulate this simple transcription, No. 1 from Opus 46 was chosen. 7. The Skočná (hopping) dance because it offers interesting rhythmic cues (repeated and easily assimilated for teaching and performance purposes in band music). The adaptation offers alternating sounds, with easy dynamics that allow a band instrumental ensemble to interact between the various sections, in different ranges,
all easily performable and therefore suitable for promoting the technical growth of even youth band groups.

This instrumental adaptation presents itself with the formal balance of ABA, that is, in the classic tempos of Allegro, Andante, and Ripresa Part 1, while maintaining the folk-inspired melodies that demonstrate Dvořák’s national identity and unmistakable personality. Indeed, various tonal transitions are employed (simple passages from major to minor) with the singability of the melodies highlighting the various wind sections, supported by the good rhythm of the percussion.

These are the characteristics of the “Skočná,” a brilliant, leaping dance in 2/4 time. Throughout its energy, this “Fast Dance” also generates secondary, more relaxed and descending melodic progressions, with the engaging reprise of the theme that leads the “tutti” toward the first cadence in the corona.
A tranquil “Relax Dance” in 4/4 follows: a new, expressive theme appears, with a varied and legato articulation, over different intervals that prepare for a calm “saltellato.” The melody is distributed across various registers and dynamics, continuing pleasantly in successive
developments.

The whole thing progresses from “more engaging” to “more lively” and from accelerating to “more compelling” towards the resumption of the first part. It is the unmistakable dance theme that develops a progressive “stringendo” that “little by little” leads “decisively” to the conclusion.
This is the circular logic that characterizes these popular pieces by Dvořák: they are strongly rhythmic dances that bend towards a basic melody, followed by a restful contemplation, only to reappear again with a rousing finale, where the rhythm of the entire band takes center stage.

These are the guidelines to consider for a good interpretation of the DANCING BAND’s theme from Dvořák’s “Skočná”: I believe it is an appropriate and easy transcription for wind and percussion ensembles, which allows the sparkling and nostalgic folk flavor of Slavic music to be highlighted.

In these aspects, one can grasp the most sincere and authentic message of Dvořák’s art, with the colorful and constructive writing of his music, always relevant in the most diverse cultural and historical contexts, without failing to gain the approval and appreciation of the listening audience.

Therefore, the task is entrusted to the teachers and conductors of the bands, who I am confident possess adequate skills and sonic qualities, as well as the enthusiasm and commitment to presenting this musical genre of the Slavic folk tradition.

So, good performance to all the bands!

Carlo Pirola