Prague Waltzes

We are fortunate that Dvořák associated with the Umělecká beseda or National Arts Club, an organization formed to promote native artistic culture, for it provided a venue and competitive inspiration for his creations in chamber music. For instance, in 1879 the Club asked several prominent Czech composers to supply dance music for an anniversary ball. Dvořák sketched a multi-themed waltz that, despite substantial changes over the ensuing months, would eventually be performed at the ball. However, soon after completing the piece (his opus 53), Dvořák decided to develop each waltz melody more fully. Thus he turned one work into a whole series of independent “Prague Waltzes” for piano solo (opus 54), two of which he quickly arranged for string quartet. Though contemporaneous with Johann Strauss, these waltzes stand closer in spirit to Chopin. That is particularly the case with the second piece (originally no. 4), which mimics Chopin’s “Minute” Waltz in several striking ways. From the swirling solo introduction to the exact chord-to-chord progressions and distribution of the voices, Dvořák seems to be making overt reference to the Polish pianist. The string quartet version has been transposed to D major, but the original keyboard version was in D-flat major—the same key as Chopin’s waltz—thereby heightening the aural bond. Waltz no. 1 in A major is noteworthy for the yearning chromaticism of its main theme and occasional thumping of the second beat (adding a hint of sarabande gravitas). The main theme dominates by and large, though Dvořák carefully inserts two contrasting episodes, including a gypsy-flavored excursion into C-sharp minor. Both pieces testify to the composer’s grasp of small dance forms and his ability to translate a sunny personal disposition into music.

(c) Jason Stell