Dvořák – un homme de construction? Une construction structurelle en son Requiem

Antonin Dvorak used to be seen as an excellent writer of melodies, but a poor builder. But, the analysis of the Dies irae - Tuba mirum - Dies irae (DI 1 - TM - DI 2) movements of his Requiem (1890) reveals, in an impressive way, the author's abilities of construction. Both choral movements (DI 1 and DI 2) were based by Dvorak on mere two three verse sections of the text. In DI 1, therefore, he repeated them twice, and gave them a different tectonic function each time - the first time in an ascending, gradating part of both movements, the second time at the peak and descent. The two movements, however, are not identical. The instrumental setting of the second is denser, there are more short counterparts and instrumental insertions (including the double quotation of the theme of the first movement in the bass instruments), and, especially: DI 2 at its peak brings several layers of confrontation of the text and motivic material of both movements. The composer also joined the whole set of three movements rhythmically. Every movement (DI x TM) uses its own basic rhythmical model, which also plays a key role at the juncture at the peak of DI 2: both rhythmical models sound simultaneously (together with other layers) with different speeds and instrumentation. Dvorak the constructivist? Certainly not in the primary sense of the word, but surely a composer who, at the peak of his composing career, was capable of impressive achievements in the field of construction and combination.