Ian Deterling

Slavonic Dance No. 8 flexible instrumentation

Slavonic Dance No. 8 (Antonín Dvorák)

  • flexible instrumentation

    • Grade 4

  • ca. 4:30

Score/Parts PDF Preview

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Program Notes

Composed by Johannes Brahms, arranged by Ian Deterling.

  • Prior to the publication of Slavonic Dances, Antonín Dvorák (1841-1904) was a relatively unknown composer who had little success in getting works published or performed. In 1877, Dvorák won the Austrian State Prize fellowship with his Moravian Duets. One of the judges that year happened to be Johannes Brahms, who was so impressed with Dvorák’s duets that he recommended them to his publisher, Simrock. The following year, Simrock commissioned Dvorák to compose a series of Slavonic dances for piano duet with the intent of repeating the popularity of  Brahms’ Hungarian Dances. Dvorák’s Slavonic Dances, Op 46 was an immediate success, almost instantly elevating the composer to a celebrity status. 

    Unlike Brahms’ Hungarian Dances, Dvorák’s Slavonic Dances utilize traditional rhythmic patters and structures instead of quoting folk melodies. ‘No. 8’ is based on the furiant; a rapid and lively Bohemian dance in alternating duple and triple meters. This is clearly seen and heard in the first 4 measures; measures 1 and 2 can be thought of as three measures of 2/4 while measures 3 and 4 are heard in 3/4 (see below). This alternating pattern can be heard throughout the piece.

  • Instrumentation possibilities:

    • Part 1

      • C (High) - Flute; Violin

      • C (Low) - Oboe; C Trumpet; Violin

      • Bb - Bb Clarinet; Soprano Saxophone; Bb Trumpet

      • Eb - Eb Clarinet; Alto Clarinet; Alto Saxophone

    • Part 2

      • C - Oboe; C Trumpet; Violin

      • Bb - Bb Clarinet; Soprano Saxophone; Bb Trumpet

      • Eb - Alto Clarinet; Alto Saxophone

      • F - English horn

    • Part 3

      • C - Viola

      • Bb - Bb Clarinet; Soprano Saxophone; Bb Trumpet

      • Eb - Alto Clarinet; Alto Saxophone

      • F - English Horn; Horn in F

    • Part 4

      • C - Bassoon; Trombone; Euphonium; Cello

      • Bb - Bass Clarinet; Tenor Saxophone; Euphonium T.C.

      • Eb - Alto Clarinet; Alto Saxophone

      • F - Horn in F

    • Part 5

      • C (High) - Bassoon; Contrabassoon; Trombone; Bass Trombone; Euphonium; Tuba; Cello; Contrabass

      • C (Low) - Tuba

      • Bb (High) - Contrabass Clarinet; Euphonium T.C.

      • Bb (Low) - Bass Clarinet; Contrabass Clarinet

      • Eb - Baritone Saxophone

    • Percussion

      • Triangle; Crash Cymbals; Bass Drum

      • Timpani

  • Performance Notes

    • Divisi

      • Parts 2, 3, and 4 have divisi (parts 1 and 5 do not). All divisi passages are written in the same octave (which is why parts 1 and 5 do not have any). Each individual part includes the divisi, so they could be performed both by two of the same instrument or by two different instruments. 

    • High/Low Parts

      • Parts 1 and 5 have 'High' and 'Low' parts; these are not divisi. They are written in the score on the same staff, but separated into high notation/low notation in parts (so the musicians don't have to be staring at octaves the whole time). This is either to suit the range of the instrument (like Flute vs. Oboe) or because the written transposition is different by an octave (like Tuba vs. Contrabass.)

    • Small Noteheads

      • A few parts include smaller noteheads when notes fall out of range of a certain instrument (example: Part 3 Bb, measure 74; see below). Directions for which instrument is to play the smaller noteheads is included in both the score and part.

  • Score and set of parts