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There are fourteen notes in the whole symphony. Movements 1, 3, and 4 are tacet. The second movement has two sets of six half notes and one whole note, in the very beginning and then again towards the end. They're 14 good notes, though.

On the other hand, it's a great symphony, and you'll be sitting in the best seat in the house to listen to it.

It is possible to double the Bass Bone on the louder material and add some stuff to the fourth movement. On a side note, I have heard a great story about why the part is so sparse....granted I'm not sure if it's true, but it makes a great story anyways.

Apparently, Dvorak was razzed at the fact that the tuba player of the orchestra that this piece was written for was being very flirtatious with his wife. In order to get the guy out of the picture, he wrote the part so he would have to be gone with the group as they were taking the piece on the road for a tour.

...Like I said, good story, not sure how true it is.

Of course, we will never know Dvorák's reasons for writing such a small tuba part. However, probably Dvorák simply originally wrote the symphony without tuba, then in rehearsal decided the brass chorale could do with the additional weight - but could not be bothered to then add the tuba throughout the rest of the work. Mind you, the above story is more fun!

I have fortunately, or unfortunately (which ever way you look at it) never played it, but if it comes up would, if the conductor allowed, try doubling the bass trombone in loud tutti passages, particularly as you both play off the same part.

Jonathan "who enjoys Dvorák 9 as a piece of music"

what no one has said is that the 14 notes are doubling the bass trombone.

I have played this but considered it a total waste of time, except that I earned more per note on this symphony than I have on almost everything I played... with the exception of the "Flight of the Bumblebee" (one short note--the opening chord!)

Not only doubling the bass bone part, but in an absolute unison!

I don't know if I agree that it is all THAT easy, to play, however. You have to sit around for that whole first movement, letting your chops get cold, and then you have to enter very quietly, on that first note, without chipping it!

That's not encouraged. Playing with a symphony orchestra is not like playing with a band. You play everything the way the composer wrote it... or else!

I heard a story that one of the 1st conductors of the piece added the tuba notes.And no, it's not that easy,if perfection is the goal...

I met my long suffering flute-playing wife while playing this tune (among others) on tour in Portugal so, as far as I'm concerned, they are among the best 14 notes in the repertoire!

Neptune wrote:I have fortunately, or unfortunately (which ever way you look at it) never played it, but if it comes up would, if the conductor allowed, try doubling the bass trombone in loud tutti passages, particularly as you both play off the same part.

I agree with any of the above (and potential following) who believe you should play what is on the page and nothing more, unless asked to by the conductor. As much as I would love to double the bass trombone throughout the whole symphony down an octave where possible, I don't even have the slightest notion of being a better composer than Dvorak. Whatever his reasons, I'll play what he wrote.

Don't like it? Edit the symphony and get it published. If I find it on my stand one day, I will be more than happy to play it.

Z-Tuba Dude wrote:I don't know if I agree that it is all THAT easy, to play, however. You have to sit around for that whole first movement, letting your chops get cold, and then you have to enter very quietly, on that first note, without chipping it!

Agreed. It's a difficult entrance to make when well warmed up with the dynamic as it is, let alone after chilling throughout the first movement. Not only that, you have to do it a second time when the chorale returns.


Colby "wishes he wasn't so sun burnt from golfing for the first time year today" Fahrenbacher