Tomorrow (8/28) marks the CD release of Anton Rubinstein: Symphony No. 4 “Dramatic”, so today we’re sharing a bit about this wonderful work.
The “Dramatic” Symphony: proving a point
Rubinstein produced his fourth symphony in 1874, which he subtitled the “Dramatic.” It was first heard in 1875, under the composer’s baton, in Russian and major western European cities. His major aim was to express, by means of this new work, a protest against a widespread theory proclaimed by Wagner and his proponents. They postulated that Beethoven had exhausted all the potential of symphonic development, which was why he had felt compelled to use a choral setting of a poetic text in the finale of his Ninth Symphony. Purely instrumental symphonic writing was thus doomed to disappear, and the advancement of “synthetic” art combining multiple genres was inevitable. But Rubinstein sought to revive Beethoven’s style of symphonic composition; of bringing his sort of “symphonic drama” back to life. Thus the composer subtitled the piece to indicate such a purpose.
In the great European masters’ footsteps
In terms of the thematic material employed and its masterly development, Rubinstein’s “Dramatic” symphony deserves to be ranked among his best compositions for orchestra. It is cast in the traditional four-movement form, with very modest instrumentation that achieves an impressive diversity of colors and effects by means of
contrasting various instrumental groups. Compared to the composer’s earlier symphonies, the “Dramatic” symphony’s thematic material is entirely different – especially from that of the “Ocean” symphony, in which the themes reflected the influence of the Russian “romance.” The Fourth Symphony, instead, is based on motifs more like those of Beethoven or Schumann. Thus, in the main part of the passionate and intense first movement, the Beethoven-like rhythmic patterns are of major importance; the secondary theme could even belong to late Schumann (or Brahms). The magnificent first theme of the finale bursts with dynamic energy, elasticity and determination.
Out of the four movements, the scherzo-like second is perhaps the finest. There were few composers in the second half of the 19th century who could fully achieve the kinds of humor, spontaneity and captivating joy found in Beethoven’s scherzos – with their powerful triple meters plus their dynamic, rhythmic and instrumental contrasts: Rubinstein was among them.
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