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Updated: May 13, 2025
Those were interesting afternoons when, dropping his pen, he plunged into music as a strong confident swimmer plunges into the stream which he especially loves, interpreting with warm feeling Mendelssohn and Beethoven, wandering unlost in the vocal labyrinths of Dvorak and Wagner, but never happier than when interpreting the emotions of simple folk-songs, or some noble Shakespearian lyrics like "Who is Sylvia, what is she, that all the swains commend her?"
But the reason modern French composers give the viola special attention is because France now is ahead of the other nations in virtuose viola playing. It is practically the only country which may be said to have a 'school' of viola playing. In the Smetana quartet the viola plays a most important part, and Dvořák, who himself played viola, emphasized the instrument in his quartets.
Two types we have in Bohemian music of later times: one, Smetana, of pure national celebration; a second, Dvôrák, who with a profound absorption of the German masters, never escaped the thrall of the folk-element and theme. Simplicity is uppermost in these scores; yet the true essence is almost hidden to the mere reader.
The French Saint-Saëns followed him, rather than his countryman Berlioz; so did Tschaikowsky, Dvorák, and most modern composers, up to Richard Strauss, whose symphonic poems are the most widely discussed, praised, and abused compositions of our time. To the great names contained in the preceding paragraphs another must be added, that of an Italian.
At the age of twenty Goldmark wrote a trio for piano, violin, and 'cello. After the first performance of this work at one of the conservatory concerts, Doctor Dvôrák exclaimed, "There are now two Goldmarks." The work has also had performance at the concerts of the Kaltenborn Quartette, and has been published. It begins with a tentative questioning, from which a serious allegro is led forth.
Modern music has shown the same tendency: Strauss of Vienna writes waltzes in Arab rhythms, Grieg composes a Scotch symphony, Dvorak writes an American national anthem utilizing negro melodies.
Unless a man writes in the exotic style of Brahms, Wagner, Dvorak and I know not what other Slav, Czech, Teuton or Hebrew, the critics are sure to accuse him of being an anachronism. The only man in England who is permitted to write in a style which is in the main of home growth is the Irish Jew, Sir Arthur Sullivan. If we may go to a foreign style why may we not go to one of an earlier period?
The Dvorák dance had not deepened Sally's color; the Damrosch song had not caused her to draw her white ostrich boa more closely about her throat. Thayer struck a vigorous major chord or two; then, with a sudden memory of the dry glitter in Arlt's eyes, he modulated thoughtfully.
Grieg the Norwegian writes Arabian music; and, to cap the climax, we have here in America been offered a pattern for an 'American' national musical costume by the Bohemian Dvorak though what the Negro melodies have to do with Americanism in art still remains a mystery. But the means of 'creating' a national music to which I have alluded are childish.
Louis, he busied himself as solo violinist and teacher, travelling also as a conductor of opera companies. When Dvôrák came here Arnold wrote his "Plantation Dances," which were produced in a concert under the auspices of the Bohemian composer. Arnold was instructor of harmony at the National Conservatory under Dvôrák.
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