CZECH MUSIC

THE JOURNAL OF THE DVORAK SOCIETY

Volume 18 Number 2 Winter 1994

CONTENTS
Page
Obituaries: Rudolf FirkuSny, Michael Henderson, FrantiSek Jilek,
Graeme Matheson-Bruce, Jarmila Novotnä, Milan PoStolka, Jaroslav §eda 4

The Beginnings of Dvofäk's Musical Education by Jarmil Burghauser 32

Tracking the Wrong Indians: A Case of Mistaken Identity by Peter Alexander 52
The Dvofäk Myths in Spillville by Harvey Klevar and Paul Polansky 64
What's American About Dvofäk's "American" Quartet and Quintet
by Hartmut Schick 72

On the Real Value of Yellow Journalism: James Creelman and Antonin Dvofäk
by Michael Beckerman 83

Dvofäk in a New Röle by John Clapham and Graham Melville-Mason 100

The Case Against Bohuslav Martinü by Count D.R.A. Cula 127
The Case For Bohuslav Martinü by Michael Henderson 133
Book Reviews by Karel Janovicky and Graham Melville-Mason 145
Music Reviews by Graham Melville-Mason 158
Record Reviews by Peter Herbert, Karel Janovicky,

Graham Melville-Mason, Graham Slater 162

Edited by

GRAHAM MELVILLE-MASON
The Editor welcomes contributions to Czech Music on any aspect of Czech and
Slovak music, past, present or future. Articles, reviews, as well as Information of
general interest, should be sent to:

Graham Melville-Mason
69, Grasmere Road, LONDON N10 2DH
 WHAT'S AMERICAN ABOUT DVORÄK'S
"AMERICAN" QUARTET AND QUINTET

by Hartmut Schick

O n e h u n d r e d y e a r s a f t e r A n t o n i n D v o f ä k ' s v a c a t i o n in S p i l l v i l l e ,
I o w a , in t h e s u m m e r of 1 8 9 3 , d u r i n g w h i c h he w r o t e his String
Quartet in F (Op.96)[B.179] a n d his String Quintet in Eh
(Op.97)[B. 180], t h e r e is c o n t i n u i n g still t h e c o n t r o v e r s y a b o u t t h e
" A m e r i c a n " c h a r a c t e r of t h e s e w o r k s , as w a s s h o w n in t h e p a n e l
discussions at t h e I o w a D v o f ä k C e n t e n n i a l S y m p o s i u m in I o w a C i t y
in A u g u s t 1 9 9 3 . M u c h has b e e n w r i t t e n o n t h e i m p a c t o f A m e r i c a
o n t h e m u s i c D v o f ä k w r o t e in t h i s c o u n t r y , m o s t l y s e a r c h i n g f o r
1

]
See e s p e c i a l l y A n t o n i n S y c h r a : E s t e t i k a Dvofäkovy
symfonicke tvorby, P r a h a , 1959 (German t r a n s l a t i o n : Antonln
Dvo/äk. Z u r Ästhetik seines symphonischen Schaffens, Leipzig,
1973) ; J o h n Clapham: Dvofäk and t h e Impact o f A m e r i c a , i n T h e
M u s i c R e v i e w , 1 5 , 1954, pp.203-211 and Clapham: Dvofäk and t h e

72
p o s s i b l e r e l a t i o n s b e t w e e n its t h e m e s a n d s o n g s of A f r i c a n -
A m e r i c a n s or n a t i v e A m e r i c a n s w h i c h D v o r a k m i g h t h a v e heard
t h e r e . O f t e n it has b e e n p o i n t e d o u t t h a t t h e p e n t a t o n i c i s m o f his
A m e r i c a n w o r k s is n o t h i n g c o m p l e t e l y n e w in his c o m p o s i t i o n a l
O u t p u t , w h i c h is as r i g h t as is w r o n g t h e o p i n i o n of a broader
(European) p u b l i c , w h o regard t h o s e w o r k s as t y p i c a l D v o f ä k , o n l y
b e c a u s e t h e y are a m o n g t h e m o s t f a m o u s , at t h e s a m e t i m e t a k i n g
p e n t a t o n i c i s m as c h a r a c t e r i s t i c of B o h e m i a n f o l k s o n g , w h i c h also
it is n o t . Even s c h o l a r s , h o w e v e r , rarely h a v e t r i e d t o reveal t h e
uniqueness of these w o r k s in penetrating t h e c o m p o s i t i o n a l s t r u c t u r e
b e y o n d t h e e x o t i c c o l o u r of t h e i r m e l o d i e s . H e r e , t o o , it s e e m s t o
2

be f r u i t f u l t o distinguish more clearly b e t w e e n t h e p r e v i o u s l y w r i t t e n

Symphony No.9 in e minor, (Op.95)[B.178], "From the New World"
a n d t h e Spillville Chamber m u s i c .

W h e n a s k i n g w h e t h e r D v o f ä k ' s A m e r i c a n w o r k s are really

" A m e r i c a n " or still B o h e m i a n in s t y l e , t h e r e c a n be no d o u b t t h a t at
least D v o f ä k h i m s e l f i n t e n d e d t h e m t o be e s s e n t i a l l y A m e r i c a n . A s
is w e l l k n o w n , he m a i n t a i n e d f r e q u e n t l y t h a t in his "New World"
Symphony, t h e Quartet a n d t h e Quintet he h a d a t t e m p t e d t o grasp
t h e " s p i r i t " of A m e r i c a n m u s i c , using t h e language of late n i n e t e e n t h
C e n t u r y European m u s i c . O b v i o u s l y he w a s v e r y m u c h i n t e r e s t e d
3

in t h e c h a n t s a n d s o n g s of t h e A f r i c a n - A m e r i c a n s as w e l l as t h e
n a t i v e A m e r i c a n s and in t h e traditional and n e w l y c r e a t e d f o l k s o n g s
o f t h e w h i t e p o p u l a t i o n . Y e t , f u r t h e r m o r e , w e s h o u l d n o t e t h a t he
c o n s i d e r e d e v e n t h e s o n g s of t h e Irish i m m i g r a n t s as an A m e r i c a n
phenomenon. Even w h e n w r i t i n g a b o u t " t h e i n f l u e n c e o f t h i s
c o u n t r y " o n his S y m p h o n y , he s a y s : " i t m e a n s t h e f o l k s o n g s t h a t
are Negro, Indian, Irish e t c . T o this w e m u s t surely h a v e t o a d d t h e
4

American I n d i a n , in T h e M u s i c a l Times, 1 0 7 , 1966, pp.863-867.

2
An exception i s David Beveridge: Sophisticated
Primitivism: The S i g n i f i c a n c e o f P e n t a t o n i c i s m i n Dvofäk's
American Quartet, i n C u r r e n t M u s i c o l o g y , 2 4 , 1977, pp.25-36.
See a l s o S c h i c k : S t u d i e n z u D v o f a k s Streichquartetten, (Neue
H e i d e l b e r g e r S t u d i e n z u r M u s i k w i s s e n s c h a f t , 17), L a a b e r , 1990,
pp.262-282.

3
S e e e s p e c i a l l y t h e a r t i c l e : Dvofäk on h i s New Work, i n
The New York Herald, 1 5 t h . December 1893, reprinted in
Clapham, J . : Dvofäk, Newton A b b o t & London, 1979, p.201.
4
L e t t e r t o F r a n c e s c o B e r g e r , 1 2 t h . J u n e 1894, i n A n t o n l n
Dvo/ak: Koresponence a dokumenty, e d . M i l a n Kuna et.al.,

73
S c o t s . T h e r e f o r e , for e x a m p l e , t h e striking s y n c o p a t i o n s in D v o f ä k ' s
A m e r i c a n m u s i c o u g h t t o be t a k e n as an A m e r i c a n s t y l i s t i c d e v i c e ,
e v e n if one w o u l d claim t h e " S c o t c h s n a p " t o be t h e i r o r i g i n a n d n o t
t h e n e g r o s p i r i t u a l or c a k e w a l k , or similar p h e n o m e n a in t h e m u s i c
o f n a t i v e A m e r i c a n s . T h e s a m e is t r u e w i t h t h e t o u c h i n g s o n g - l i k e
t h e m e s w h i c h s o u n d so Irish t o our ears.

In c o n s e q u e n c e , one w o u l d h a v e t o l o o k e v e n o n g e n u i n e C z e c h
e l e m e n t s as " A m e r i c a n " in D v o f ä k ' s A m e r i c a n m u s i c , if t h e y r e f l e c t
his e n c o u n t e r w i t h C z e c h i m m i g r a n t s w h o h a v e b e c o m e p a r t o f t h e
American nation and culture themselves. Curiously e n o u g h , Czech
e l e m e n t s , like t h e p o l k a t h e m e in t h e f i r s t m o v e m e n t o f t h e "New
World" Symphony, are t o t a l l y m i s s i n g in D v o f ä k ' s m u s i c j u s t a t t h e
m o m e n t w h e n D v o f ä k is a m o n g s t his c o m p a t r i o t s , a m o n g t h e C z e c h
A m e r i c a n s o f Spillville, I o w a . T h i s is in s p i t e of t h e f a c t t h a t
o t h e r w i s e D v o f ä k ' s " S p i l l v i l l e " Chamber m u s i c a b s o r b e d s o m a n y
external impressions the composer had received there!

T h i s c a n be e x p l a i n e d by s u g g e s t i n g t h a t , in Spillville, D v o f ä k has
d e f i n e d m u c h m o r e s h a r p l y his s e l f - i m p o s e d P r o g r a m m e o f w r i t i n g
American m u s i c , t a k i n g t h i s t a s k m o r e s e r i o u s l y t h a n he h a d d o n e
in his S y m p h o n y c o m p o s e d in N e w Y o r k j u s t b e f o r e . B a s i c a l l y , t h e
Symphony No.9 in e minor i s , in t e r m s of s t y l e , a n o r m a l s y m p h o n y
o f E u r o p e a n late r o m a n t i c i s m w i t h o n l y s o m e e x o t i c t h e m e s , e v e n
if w e r e c o g n i z e its r e l a t i o n t o L o n g f e l l o w ' s Hiawatha, w h i c h has
b e e n p o i n t e d o u t b y M i c h a e l B e c k e r m a n . It is a S y m p h o n y w h i c h
5

s t i l l c a n be s e e n in t h e line o f B e e t h o v e n . T h e s l o w i n t r o d u c t i o n
g e n e r a t e s in a t r a d i t i o n a l m a n n e r t h e later m a i n s u b j e c t ; t h e f i r s t
movement e x h i b i t s B r a h m s i a n " d e v e l o p i n g V a r i a t i o n " in an
e x e m p l a r y m a n n e r ; t h e p a s t o r a l c h a r a c t e r of t h e s l o w m o v e m e n t is
a well-established feature of s y m p h o n i e s since Beethoven and
B e r l i o z ; t h e S c h e r z o u n m i s t a k a b l y relates t o t h e S c h e r z o of
B e e t h o v e n ' s Symphony No.9; t h e r e c u r r e n c e of t h e m e s in later
m o v e m e n t s a n d e s p e c i a l l y t h e Finale also is by no m e a n s a n e w
d e v i c e in t h e n i n e t e e n t h Century s y m p h o n y .

vol.III, Praha, 1989, p.268.

5
B e c k e r m a n , M. : Dvofäk's "New W o r l d " L a r g o and T h e Song
of Hiawatha, i n 1 9 t h . - C e n t u r y M u s i c , v o l . X V I / 1 , Summer 1992,
pp.35-48.

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It is n o t t h e s a m e w i t h t h e Spillville Chamber m u s i c w o r k s . T h e y
s e e m - t h e Quartet m o r e t h a n t h e Quintet - t o s t a n d in d i r e c t
O p p o s i t i o n t o t h e t r a d i t i o n o f their g e n r e , b e h a v i n g d e c i d e d l y a n t i -
E u r o p e a n w h i c h m e a n s , in t h i s c a s e , a b o v e all a n t i - G e r m a n . O f
c o u r s e , s u c h an Opposition c a n b e s t be d e m o n s t r a t e d in t h a t genre
w h i c h has t h e m o s t rigid a n d m o s t c o n s e r v a t i v e a e s t h e t i c s , n a m e l y
t h e s t r i n g q u a r t e t - t h e m o s t " c i v i l i z e d " of all t h e m u s i c a l g e n r e s .
I n d e e d , it is c u r i o u s t o o b s e r v e t h a t t h e y o u n g e r g e n e r a t i o n o f
c o m p o s e r s of s t r i n g q u a r t e t s are still m u c h m o r e a d h e r e n t t o t h e s e
a e s t h e t i c s t h a n D v o f ä k w a s in his " A m e r i c a n " Q u a r t e t . Just
c o m p a r e it w i t h D e b u s s y ' s String Quartet in g minor (Op. 10)
c o m p o s e d in t h e s a m e year of 1 8 9 3 or Z e m l i n s k y ' s String Quartet
No.1 inA (Op.4) of 1 8 9 7 .

W h i c h are t h e s e u n c o n v e n t i o n a l or " u n c i v i l i z e d " f e a t u r e s ? Firstly:

D v o f ä k ' s O p u s 9 6 p r e t e n d s t o be n o t h i n g m o r e t h a n c u l t i v a t e d
Hausmusik, m u s i c f o r d o m e s t i c u s e . T e c h n i c a l l y it is so easy t h a t
D v o f ä k , being a viola player, c o u l d play t h e f i r s t violin p a r t in
Spillville. A s a w h o l e , it c a n be p l a y e d w i t h o u t t o o m a n y p r o b l e m s
b y a n y r e a s o n a b l y g o o d a m a t e u r e n s e m b l e . W i t h t h a t q u a l i t y , it
o p p o s e s clearly t h e t e n d e n c y of t h e g r o w i n g p r o f e s s i o n a l i s m in t h e
d e m a n d s of q u a r t e t w r i t i n g w h i c h , since B e e t h o v e n , h a d lead t o
s t r i n g q u a r t e t s being c o m p o s e d f o r p r o f e s s i o n a l e n s e m b l e s a n d
P e r f o r m a n c e in c o n c e r t halls. T h u s , already w i t h regard t o
i n s t r u m e n t a l t e c h n i q u e , t h e String Quartet in F b e l o n g s , s o t o s a y ,
r a t h e r t o a place near t h e m a r g i n s of c i v i l i z a t i o n , j u s t as Spillville
w a s , t h a n t o Prague, Berlin or L o n d o n . In t e r m s o f its C o n t e n t s ,
a c t u a l l y it b e l o n g s m o r e t o t h e o p e n air t h a n t o a c i t y c o n c e r t hall,
for it is definitely a piece of nature m u s i c , n o t b y a c c i d e n t w r i t t e n in
t h e classical pastoral key of F m a j o r . T h u s , t h e f i r s t m o v e m e n t
Starts w i t h a s t a t i c b u t o s c i l l a t i n g s o u n d p a t t e r n , like W a g n e r ' s
Waidweben. Into t h i s s o u n d i n g " l a n d s c a p e " o b v i o u s l y e n t e r s a
s i n g i n g , e v e n r e j o i c i n g , m a n , as e x p r e s s e d in t h e m e l o d y o f t h e
v i o l a , n o t by accident D v o f ä k ' s o w n i n s t r u m e n t . I a m sure t h a t here
w e h a v e a kind of s e l f - p o r t r a y a l of D v o f ä k arriving in Spillville a n d
b e i n g o v e r w h e l m e d b y t h e n a t u r e he h a d f o r s o l o n g b e e n m i s s i n g
in N e w Y o r k . T o this also c o r r e s p o n d t h e v a r i o u s bird-call m o t i f s in
the Scherzo. 6

6
These p a s t o r a l t r a i t s are discussed more extensively
in S c h i c k , H. o p . c i t . pp.268-273.

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N o w , t h e r e are p a s t o r a l w o r k s in t h e S y m p h o n i e m u s i c o f t h e
n i n e t e e n t h Century but n o t in t h e s t r i n g q u a r t e t a n d t h i s is n o t b y
accident. P o r t r a y i n g n a t u r e " i s j u s t n o t d o n e " in t h e m o s t
d i s t i n g u i s h e d g e n r e o f Chamber m u s i c . It is a f a r t o o u n e i v i l i z e d
t h i n g t o d o . A c c o r d i n g t o European - a n d especially G e r m a n - n o r m s ,
it is a lapse in m a t t e r s of style also t h a t , in t h e last m o v e m e n t o f t h e
Q u a r t e t , D v o f ä k o b v i o u s l y inserts r e m i n i s c e n c e s o f his o r g a n p l a y i n g
in t h e c h u r c h at Spillville. E l e m e n t s o f P r o g r a m m e m u s i c h a v e n o
b u s i n e s s b e i n g in t h e European s t r i n g q u a r t e t . Thus the only
e m i n e n t p r e c e d e n t f o r t h i s , S m e t a n a ' s String Quartet No. 1 in e
minor (From My Life), a l w a y s w a s r e g a r d e d as a v e r y p e r s o n a l
e x c e p t i o n , critieized o f t e n enough even s o .

S t r i c t l y s p e a k i n g , t h e s e p a s s a g e s w i t h s t y l i z e d o r g a n m u s i c also
c a u s e a f o r m a l b r e a k , f o r t h e y are i n s e r t e d a l m o s t in a p a t c h w o r k
manner. T h i n g s are similar w i t h t h e n e w t h e m e , w h i c h D v o f ä k
i n t r o d u c e s in t h e r e c a p i t u l a t i o n o f t h e f i r s t m o v e m e n t - t h e ' c e l l o
m e l o d y in Dl? a t bar 1 2 3 . Appearing w i t h o u t any obvious
m o t i v a t i o n , t h e t h e m e v a n i s h e s w i t h o u t b e i n g u n f o l d e d . J u s t as
s c a n t i l y m o t i v a t e d w o u l d s e e m t o be t h e s m a l l , p o i n t e d l y s i m p l e a n d
p e n t a t o n i c fugato f r o m t h e d e v e l o p m e n t s e c t i o n o f t h i s m o v e m e n t ,
w h i c h d o e s n o t s e e m ever t o have heard o f t h e p r i n c i p l e o f t h e
a n s w e r i n g e n t r y at t h e i n t e r v a l o f a f i f t h . A g a i n , in t h e f i r s t
m o v e m e n t o f t h e String Quintet in Eb (Op.97) a n e w t h e m e a p p e a r s
in t h e d e v e l o p m e n t , at bar 1 4 5 , f r o m w h i c h D v o f ä k also t a k e s no
consequence.

Evidently, in his A m e r i c a n Chamber m u s i c , D v o f ä k ' s m u s i c a l t h i n k i n g

w a s less o r i e n t a t e d t o w a r d s t h e t r a d i t i o n a l rules o f m u s i c a l l o g i c ,
s u c h as is p e r f e c t l y e m b o d i e d in B e e t h o v e n a n d B r a h m s . W h i l e ,
s i n c e B r a h m s , European Chamber m u s i c b e g a n t o e x t e n d t h e
d e v e l o p m e n t s e c t i o n t o t h e w h o l e m o v e m e n t , it is j u s t t h i s e l e m e n t
w h i c h D v o f ä k r e d u c e s c o n s i d e r a b l y in Spillville. In b o t h w o r k s it is
o n l y t h e f i r s t m o v e m e n t s t h a t are s h a p e d in Sonata f o r m , i n c l u d i n g
a d e v e l o p m e n t s e c t i o n w h i c h , in b o t h c a s e s , is v e r y Short a n d l o o k s
r a t h e r u n e x c i t i n g . A d d i t i o n a l l y , t h e final r o n d o f r o m t h e Quintet
s e e m s t o replace q u i t e clearly t h e m o m e n t o f t h e m a t i c w o r k i n g a n d
evolution by stringing together fixed sections. T h e 1 1 3 bars of t h e
f i r s t f o u r s e c t i o n s are s i m p l y r e p e a t e d w i t h o u t a n y c h a n g e e x c e p t
t r a n s p o s i t i o n a n d lack a n y d e v e l o p m e n t s e c t i o n s a t a l l . T h e f i r s t
m o v e m e n t o f t h e Quintet, in f a c t , f o l l o w s t h e basic d y n a m i c s h a p e

76
of Sonata f o r m . By repeating t h e s l o w i n t r o d u c t i o n at t h e e n d of t h e
m o v e m e n t , t h e musical process becomes cyclic and seems t o have
n o t a r g e t and no real f o r w a r d progress. In c o n t r a s t , j u s t i m a g i n e t h e
s l o w i n t r o d u c t i o n of t h e "New World" Symphony r e p e a t e d at t h e
e n d of t h e f i r s t m o v e m e n t !

T h e latent static nature of nearly all f o r m s in b o t h c o m p o s i t i o n s has

i t s e q u i v a l e n t in t h e t e n d e n c y also t o n o n - d e v e l o p i n g r h y t h m s . In
n o n e o f D v o f ä k ' s w o r k s are r h y t h m i c o s t i n a t i m o r e i m p o r t a n t t h a n
in t h e String Quintet (Op.97). In t h e Lento of t h e String Quartet in
F, t h e part f o r t h e viola is so m o n o t o n o u s , w i t h an a l m o s t
u n c h a n g i n g a c c o m p a n y i n g f i g u r e , t h a t t h e usual q u a r t e t d i a l o g u e
b e t w e e n all f o u r i n s t r u m e n t s o n equal t e r m s is o u t of t h e q u e s t i o n .
T h e d i s c u r s i v e principle of Chamber m u s i c f r o m H a y d n t o B r a h m s ,
w h i c h is based u p o n a m u s i c a l logic a n d p l a n n e d e v o l u t i o n , in b o t h
of D v o f ä k ' s w o r k s here declines in f a v o u r of principles b e l o n g i n g t o
t h e music of b o t h A f r i c a n - A m e r i c a n s a n d n a t i v e A m e r i c a n s , s u c h as
r e p e t i t i o n a n d a d d i t i o n of m e l o d i c a n d r h y t h m i c u n i t s , as w e l l as
a d d i t i v e s t r u c t u r e s w h i c h are either s t a t i c or m o v i n g in a c i r c l e .

Of course, the abstinence f r o m intensively t h e m a t i c w o r k and

d r a m a t i c d e v e l o p m e n t lends t h i s m u s i c its c h a r m i n g relaxed ease.
W h e t h e r , h o w e v e r , t h i s a p p a r e n t a t t i t u d e of " t a k i n g t h i n g s a bit
m o r e e a s y " , w h i c h t o d a y is k n o w n as s o m e t h i n g t y p i c a l l y A m e r i c a n ,
w a s in c o r r e s p o n d e n c e t o t h e A m e r i c a n m e n t a l i t y at t h e e n d of t h e
n i n e t e e n t h Century or j u s t D v o f ä k in holiday m o o d , r e m a i n s a
m y s t e r y . H o w e v e r , I a m sure t h a t , e v e n t h e n , t h i s a t t i t u d e w a s
r e g a r d e d as p a r t i c u l a r l y n o n - G e r m a n i c a n d in t h i s r e s p e c t also
d i s t a n c e d itself f r o m Europe.

W h a t a b o u t t h e s p e c i f i c m e l o d i c material of t h e t w o c o m p o s i t i o n s ?
It is c e r t a i n l y no a c c i d e n t t h a t , e v e n up t o t o d a y , t h e Joint diligence
o f m a n y e x p e r t s has n o t been able t o f u r n i s h p r o o f of a n y of
D v o f ä k ' s m o t i f s o r i g i n a t i n g d i r e c t l y f r o m Indian or N e g r o m u s i c .
E v e n t h e a r g u m e n t linking t h e spiritual Swing Low t o t h e "New
World" Symphony, in m y o p i n i o n , is n o t a c o m p e l l i n g o n e . I a m
c o n v i n c e d t h a t D v o f ä k t o o k t h e m u s i c of t h e v a r i o u s e t h n i c g r o u p s
in A m e r i c a as no m o r e t h a n a f u n d of p a t t e r n s f r o m w h i c h he
a b s t r a c t e d melodic and r h y t h m i c principles, t h e r e b y preferring t o use
in these w o r k s s u c h principles as w e r e alien t o European art m u s i c .
S o m e t i m e s even the first idea of a t h e m e is rather n e u t r a l , n o t t o be

77
l i c k e d i n t o p e n t a t o n i c s h a p e until later o n , as Klaus D ö g e s h o w e d
f r o m t h e S k e t c h e s o f t h e "New World" Symphony. 1
The third
s u b j e c t f r o m t h e String Quartet (Op.96), [see Ex.1] also d o e s n o t
l o o k v e r y " A m e r i c a n " y e t in t h e S k e t c h e s [a]. T h e m u c h s t r o n g e r
e x o t i c i s m o f t h e f i n a l v e r s i o n [b] is o b v i o u s l y s o m e t h i n g a r t i f i c i a l , a
p r o d u c t of D v o r a k himself. Generally, D v o f ä k e n d e a v o u r e d t o grasp
t h e spirit o f t h e m e l o d i e s he m e t a n d m a r r y t h e m t o his o w n ideas,
n o t t o a d o p t original f o r e i g n t u n e s d i r e c t l y as E d w a r d M a c D o w e l l
did, for e x a m p l e , w h o w r o t e a Indian Suite at t h i s s a m e p e r i o d w i t h
Indian t u n e s d r a w n f r o m T h e o d o r e B a k e r ' s d i s s e r t a t i o n Über die
Musik der nordamerikanischen Wilden, (Leipzig, 1 8 8 2 . ) .

Ex.1

N a t u r a l l y , n o t e v e r y t h i n g a b o u t t h e t w o Spillville Chamber w o r k s is
" A m e r i c a n " a n d n e i t h e r , by t h e s a m e t o k e n , are t h e y b o t h " n o n -
E u r o p e a n " . For e x a m p l e , t h e v a r i a t i o n s m o v e m e n t f r o m t h e String
Quintet c o r r e s p o n d s v e r y m u c h t o t h a t f r o m D v o f ä k ' s String Sextet
in A (Op.48)[B.80] o f 1 8 7 8 a n d c o u l d be s i t u a t e d in a n y pre-
A m e r i c a n Chamber w o r k , e v e n t h o u g h D v o f ä k originally w r o t e t h e
t h e m e for a s o n g p u t t o English w o r d s . T h e Quintet d i f f e r s f r o m t h e
Quartet in t h a t it u n d o u b t e d l y requires p r o f e s s i o n a l p l a y e r s a n d s o ,
in this respect of c o u r s e , belongs t o " c o n c e r t hall m u s i c " . H o w e v e r ,
at t h e s a m e t i m e , t h e m o s t anti-European m o v e m e n t is f o u n d in t h i s
Quintet, n a m e l y t h e Scherzo, w i t h its o s t i n a t o r h y t h m t h r o u g h o u t ,
m o s t l y in t h e viola p a r t . Even if t h e r e m a y be a s l i g h t r e s e m b l a n c e
t o t h e Scherzo of B e e t h o v e n ' s String Quartet No.7 in F (Op.59
No. 1), in t h e v e r y f i r s t b a r s , it is e x t r e m e l y u n u s u a l in European
8

m u s i c n o t t o Start w i t h either a m e l o d y or at least an h a r m o n i c -

c h o r d a l s t r u c t u r e . H e r e , i n s t e a d , w e f i n d a n a k e d , in a w a y f l a t ,
rhythm clearly evoking a drum, which is an invariable

7
D ö g e , K. : Dvofäk. Leben - Werke - Dokumente, Mainz,
1991, pp.272-3.

8
I am grateful t o David Beveridge for this Suggestion.

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a c c o m p a n i m e n t t o a n y Indian m u s i c . N o A m e r i c a n Indian w o u l d
Start s i n g i n g unless a d r u m h a d e s t a b l i s h e d i t s p a t t e r n in j u s t s u c h
a w a y . A l s o t h e Quartet's last m o v e m e n t begins a n d w o r k s s c a r c e l y
less o b v i o u s l y w i t h a " d r u m " r h y t h m , t h o u g h t h i s is s e t in t w o p a r t s
a n d s o a t least s u g g e s t s a t o n i c .

T h e r e b y , D v o f ä k o f course Signals t h a t it is actually unsuitable to

a c c o m p a n y " I n d i a n " m e l o d i e s h a r m o n i c a l l y a n d in several v o i c e s ,
e v e n if one tries t o avoid characteristics o f European h a r m o n y , s u c h
as leading n o t e s , as he d o e s . T h i s c o n t r a d i c t i o n b e t w e e n a g i v e n
A m e r i c a n m u s i c , w h i c h is essentially for one v o i c e , a n d an e n s e m b l e
w i t h several m e l o d y i n s t r u m e n t s , w h i c h b y itself requires a
p o l y p h o n i c t e x t u r e , c o m e out quite o f t e n . It appears p e r f e c t l y
clearly at t h e beginning of t h e String Quintet (Op.97) [see E x . 2 ] . A s
h a s n e v e r o c c u r r e d in D v o f ä k ' s c o m p o s i t i o n s b e f o r e , t h e Quintet
a c t u a l l y Starts w i t h o n l y o n e v o i c e t h r o u g h o u t t h e f i r s t f o u r bars
(second viola). W h e n the other four instruments enter, no
c o n t r a p u n t a l m o v e m e n t arises b u t w e hear a nature-like s o u n d w o r l d
w i t h e c h o f i g u r e s , f l o a t i n g a b o v e a d r o n e bass o f a f i f t h w h i c h , b y
bar n i n e , still r e f u s e s t o s u p p l y t h e m a t c h i n g h a r m o n i e s .

Ex.2

79
A n o t h e r a n d f a r m o r e e x t r e m e u n h a r m o n i z e d p a s s a g e is t h e e n t i r e
f i r s t s u b j e c t o f t h e String Quartet in F fOp.96), w h i c h is e m b e d d e d
o n l y in a c h o r d o f F m a j o r . A l s o a n o t h e r h a r m o n i c a l l y s t a t i c a n d
r h y t h m i c o s t i n a t o s t r u c t u r e o f a c c o m p a n i m e n t , r e a c t i n g only e v e r y
f e w bars o n t h e t h e m e , is f o u n d at t h e b e g i n n i n g o f t h e s l o w
m o v e m e n t o f t h i s Quartet. A similar S i t u a t i o n o c c u r s w i t h t h e
s e c o n d s u b j e c t o f t h e Finale (see E x . 3 ) .

Ex.3

Finally, t h e g m i n o r t h e m e o f t h e Finale o f t h e Quintet also is n o t

h a r m o n i z e d . (see E x . 4 ) O n l y o n e Single c h o r d , played pizzicato, is
u n d e r l a i d , t h e melody t h u s being accompanied mainly b y r h y t h m . 9

Ex.4

9
T h i s n o n - h a r m o n i c accompaniment i s a l s o t h e main
d i f f e r e n c e between t h e q u i t e s i m i l a r themes i n Smetana's
P i a n o T r i o i ng m i n o r (1855, r e v . 1 8 5 7 ) and S c h u b e r t ' s P i a n o
T r i o N o . 2i n E h (Op.100)[D.929](1827), which has been
i n e n t i o n e d by J o h n Clapham i n h i s Dvofäk a n d t h e Impact o f
A m e r i c a , o p . c i t . , p.208.

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A n u m b e r of o t h e r t h e m e s D v o f ä k d o e s p r o v i d e w i t h a regulär
h a r m o n i c s t r u c t u r e , t h o u g h o f t e n t h e leading n o t e is m i s s i n g . Even
h e r e t h e a c c o m p a n i m e n t is c o n s p i c u o u s l y t h r i f t y a n d p o i n t e d l y
s i m p l e , as if D v o f ä k w a n t e d t o s a y : " a c t u a l l y it is a b o u t a t u n e
originally for one voice only". Compare the main subject f r o m the
String Quintet (Op.97) (see E x . 5 ) , t h e Minore theme from the
Scherzo o f t h e s a m e w o r k (see Ex.6) w i t h its v e r y d i s c r e e t pizzicato
a c c o m p a n i m e n t , or t h e piain a n d s i m p l e t e x t u r e at t h e b e g i n n i n g o f
t h e Finale, as w e l l a s , f r o m t h e String Quartet (Op.96), t h e t h i r d
s u b j e c t of t h e first m o v e m e n t (bar 4 4 et.seq.) or t h e s e c o n d s u b j e c t
f r o m t h e r e c a p i t u l a t i o n o f t h e final m o v e m e n t (see E x . 7 ) .

Ex.5

Ex.6

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 Ex.7

H e r e , t h e v o c a l , s o l o i s t i c air o f t h e s e t h e m e s , w h i c h s e e m t o leave
t h e i n s t r u m e n t a l t e x t u r e , is e m p h a s i z e d especially b y t h e l a c k o f t h e
a c c o m p a n y i n g thirds w h i c h Dvofäk otherwise loved so m u c h .
Parallel t h i r d s w o u l d s i m p l y be m u c h t o o " E u r o p e a n " .

I n c i d e n t a l l y , I s u s p e c t that, a t the b e g i n n i n g o f the String Quintet

(Op.97) (see E x . 2 ) , a m a i n c h a r a c t e r i s t i c f e a t u r e o f t h e m u s i c o f
b o t h A f r i c a n - A m e r i c a n s a n d n a t i v e A m e r i c a n s is h i n t e d a t in t h e
feature o f r e s p o n s o r i a l s i n g i n g , t h e a l t e r n a t i o n b e t w e e n a p r e c e n t o r
a n d a r e s p o n d i n g c h o i r . Probably it is n o a c c i d e n t t h a t , as in t h e
Quartet, it is n o t t h e f i r s t violin b u t t h e s e c o n d v i o l a w h i c h
t h e m a t i c a l l y begins t h e w o r k , an i n s t r u m e n t w h o s e t o n e c o l o u r a n d
p i t c h c o m e s m u c h nearer t o t h e male h u m a n v o i c e . T h e u p p e r p a r t s
pick up t h e ending o f t h e vocal p h r a s e , e c h o - l i k e , s i n g i n g a s h o u t i n g
m o t i f t h a t , w i t h i t s p r i m i t i v e t w o part w r i t i n g , r e m i n d s o n e o f t h e
Choral i n t e r j e c t i o n s in the responsorial m u s i c o f the A f r i c a n -
A m e r i c a n s . It is n o t t o o m u c h a Stretch o f the i m a g i n a t i o n t o h e a r ,
f r o m bar 7 , t h e f i r s t viola as an a c c o m p a n y i n g d r u m . O f c o u r s e , t o
s u c h a s t r u c t u r e it f o l l o w s t h a t t h e r e p e t i t i o n a t t h e s a m e p i t c h b u t
d i f f e r e n t i n s t r u m e n t a t i o n at bar 1 5 n a t u r a l l y b e l o n g s .

In c o n c l u s i o n , it s e e m s a l t o g e t h e r rather peripheral w h e t h e r a n y
m e l o d i e s or " d r u m " r h y t h m s in t h e s e w o r k s are a u t h e n t i c or n o t .
Far m o r e i m p o r t a n t is t h a t , in A m e r i c a , D v o f ä k h a d w r i t t e n C h a m b e r
music t h a t finally b r e a k s o u t o f t h e European t r a d i t i o n , e v e n f u r t h e r
t h a n d o t h e S t r i n g Q u a r t e t s o f A r n o l d S c h ö n b e r g . It is a m u s i c
w h i c h o f t e n e n o u g h r e s t r i c t s itself t o o n l y f o u r or f i v e d i f f e r e n t
n o t e s , i n s t e a d o f dealing w i t h t h e w h o l e c h r o m a t i c s c a l e , a m u s i c
rediscovering r h y t h m as a n a u t o n o m o u s e l e m e n t w h i c h w a s a l m o s t

82
lost in late R o m a n t i c i s m , a music w h i c h n e w l y discovers t h e one-line
m e l o d y as a p h e n o m e n o n in itself and n o t in a W a g n e r i a n m a n n e r as
t h e p r o d u c t of h a r m o n y , a m u s i c w h i c h i n t r o d u c e s m a t e r i a l f r o m
nature and so-called primitive music into t h e sacred halls of Chamber
m u s i c , a m u s i c w h i c h w a n t s t o be easily playable a n d e n t e r t a i n i n g
i n s t e a d of g e t t i n g m o r e a n d m o r e a s t r a i n f o r t h e listener a n d m o r e
a n d m o r e s t r e n u o u s f o r t h e player.

In other words, this is music perhaps belonging to the eighteenth

Century or rather to t h e twenties of our own Century, among t h e
w o r k s of H i n d e m i t h a n d s o m e French c o m p o s e r s . A t all e v e n t s , it
is no European music of t h e f a d i n g n i n e t e e n t h Century b u t - a n d t h i s
m u c h more t h a n D v o f ä k ' s Symphony No.9 in e minor - really m u s i c
"from the New World".

(This article is a slightly revised version of a paper given at the Iowa Dvofäk
Centennial Symposium at Iowa City, Cedar Rapids and Spillville, 4th. to 7th.
August 1993.)

83