Cover

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Title Page, Copyright Page, Dedication

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Contents

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p. vii

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Acknowledgments

Michael Beckerman

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pp. ix-x

I would like to thank the following people for their assistance with this project: John Tibbetts, for his enthusiasm for Dvorak and for getting me involved in this project in the first place; and Leon Botstein, for telling me that he would devote one of his festivals to Dvorak only if I agreed to do this volume—and giving me about five minutes to decide. Thanks to Elizabeth Powers and Lauren Oppenheim for being the best in the business. Special...

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Introduction: Looking for Dvořák in December 1992

MICHAEL BECKERMAN

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pp. 3-8

The road to Vysoka leads upward from the town of Pribram, around winding roads and through fields and forests. It is the beginning of December. In the valley below it is raining, and we can see deep green winter wheat, which imparts a false sense of spring to the scene. Up on higher ground (Vysoka itself means "high place") it is snowing. Dvorak's summer villa, now called "Rusalka," has been turned into a wonderland; clean white snow clings to all the branches, and a trackless plain stretches...

PART I ESSAYS

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Reversing the Critical Tradition: Innovation, Modernity, and Ideology in the Work and Career of Antonín Dvořák

LEON BOTSTEIN

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pp. 11-55

These reflections by two of Germany's most respected critics were written during a pivotal period in twentieth-century musical life. By the mid-1920s, the modern, in terms of music, had taken its essential shape. The post—World War I alternatives to the common, lateromantic language of expression had appeared before the public. A spirit of change pervaded musical life. "Progressive" composers such as Schoenberg and Busoni had undertaken "a radical...

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Dvořák and Brahms: A Chronicle, an Interpretation

DAVID BEVERIDGE

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pp. 56-91

One of the most striking felicities in Antoni'n Dvofak's life was his long personal friendship with a man who was, after the death of Wagner in 1883, widely considered to be the greatest living composer in the Western world—Johannes Brahms. From late in 1877 until Brahms's death in 1897, Dvofak maintained a relationship with the German master that was important to both of them, even though they never lived in the same city. One might expect this relationship to have loomed large in music historiography, especially...

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Dvořák and the New World: A Concentrated Moment

JOSEPH HOROWITZ

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pp. 92-103

Though little remembered today, even by musicians, Dvorak's New York was a world music capital. A century ago, the New York Philharmonic enjoyed unprecedented artistic and financial prosperity. The Metropolitan Opera had entered its "Golden Age." New York was inundated with phenomenal vocalists and instrumentalists. Its orchestras and opera houses eagerly presented important premieres. As never since, music was central to the city's intellectual culture at large. Concert-giving and operagoing were, more than rites of habit, a necessary response to...

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Dvořák: The Operas

JAN SMACZNY

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pp. 104-133

In an interview given two months before his death, Dvofak expressed the view that his "main inclination was towards dramatic composition." 1 He also stated that he was turning down requests for chamber works from his publisher, Simrock, and that he had demonstrated years before that his main interest was in opera rather than in symphonic music. This was not the maverick boast of a composer secure in his reputation wanting to surprise the musical public; Dvofak spoke in such terms only slightly...

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The Master's Little Joke: Antonín Dvořák and the Maskof Nation MICHAEL BECKERMAN

MICHAEL BECKERMAN

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pp. 134-154

Dvofak's secretary in the United States was an American-born Czech violinist named J. J. Kovafi'k. While Otakar Sourek was compiling his groundbreaking four-volume Dvofak biography, in the late 1920s he began to write to Kovafik for information about the composer's American years. Their correspondence, still largely unpublished, is quite a beautiful one, with Sourek treating Kovafik somewhat like a spy master treats a treasured informer.1 One of the most tantalizing passages in this correspondence...

PART II DOCUMENTS AND CRITICISM

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Reviews and Criticism from Dvořák's American Years: Articles by Henry Krehbiel, James Huneker, H. L. Mencken, and James Creelman

HENRY KREHBIEL

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pp. 157-191

.During Dvofak's time in the United States, between 1892 and 1895, hundreds of articles about him, large and small, appeared in American newspapers and periodicals. The following represents a tiny but significant selection from these. We begin with Henry Krehbiel's article announcing Dvofak's first public appearance in front of an American orchestra. The next group of pieces, by James Huneker and Krehbiel, of fers some insight into the positions staked out by various critics in the...

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Letters from Dvořák's American Period: A Selection of Unpublished Correspondence Received by Dvořák in the United States

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pp. 192-210

The following letters were all received by Dvorak during his years in the United States and, unless otherwise indicated, have never before appeared in print. They range from professional greetings and salutations to the cries of amateur instrumentalists from the musical wilderness. Here are letters from the critic Henry Krehbiel, which include African-American songs from Kentucky, and a letter from an unknown student, Michael Banner, which begins in a desultory manner and evolves into a passionate tribute. These letters reveal that the composer serve...

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Antonín Dvřák: A Biographical Sketch

HERMANN KRIGAR

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pp. 211-229

In 1992 Clipeus Press in Leiden published a commemorative volume containing the earliest biographical sketch of Dvofak, by Hermann Krigar. Containing extensive commentary by the noted Dvofak scholar Jarmil Burghauser, this book was published in a special limited edition of only 110 copies. After reading the material I thought it appropriate to offer the material to a larger audience, and I obtained permission from Dr. Burghauser to reprint it here. We find the opening remarks...

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Dvořák in the Czech Press: Unpublished Reviews and Criticism

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pp. 230-261

Very little of the writing about Dvofak in the Czech press has appeared outside of Czechoslovakia. T h e r e are a variety of reasons for this, the most obvious being problems with accessibility and comprehension. In the past several decades it was not always easy to find nineteenth-century Czech newspapers, and even if one could, they seemed archaic, opaque, and even ephemeral. The change, however, that might revive interest in such works has nothing to do with newly opened archives...

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A Discussion of Two Tone Poems Based on lexis by Karel Jaromir Erben: The Wood Dove and The Golden Spinning Wheel

LEOŠ JANÁČEK

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pp. 262-276

It is well known that Leoš Janáček was one of Dvořák's great champions. He performed many of the older composer's works in Brno and even gave several premieres. Between 1897 and 1898 Janáček published discussions of Dvořák's lour symphonic poems based on the poetry of Erben. We include two of these: The Wood Dove (Holoubek) and The Golden Spinning Wheel (Zlaty kolovral). They are particularly interesting (01 a number of reasons. First, they are further documentation of Janáček peculiar and powerful literary gifts; he manages to combine a reading...

Index of Names and Compositions

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pp. 277-282

List of Contributors

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pp. 283-284

Back Cover

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pp. 285-285