Scan 775
Grove's Dictionary Of Music And Musicians Vol I A. To E., 1904
20 lines. Read by computer on 11 September 2026. Printed page 757. See the scan on archive.org.
1Bohemian version by K. J. Erben of the familiar 'Lenore' legend, which, although it was presented in a very inadequate translation of a German version, obtained a success as remarkable as it was well deserved, carrying off the chief honours of the festival. This, as well as an oratorio on the subject of St. Ludmila, written for the Leeds Festival of 1886, was conducted by the composer himself.
3In 1891 he paid another visit to England, receiving the honorary degree of Mus. D. at Cambridge: in 1892 he went to New York and was director of the so-called National Conservatory until 1895. In the latter year he returned to Prague, where in 1901 he was appointed head of the Conservatorium. He died suddenly, May 1, 1904.
5He came to London in 1896, conducted the Philharmonic concert of March 19, the programme of which contained (for the first time in England) his violoncello concerto, op. 104, and the 'Biblische Lieder,' op. 99.
7This is not the place for a detailed criticism of Dvořák's works, nor can we attempt to foretell what position his name will ultimately hold; we may, however, draw attention to the more striking characteristics of his music. An inexhaustible wealth of melodic invention and a rich variety of colouring are the qualities which most attract us, together with a certain unexpectedness, from which none of his works are wholly free. The imaginative faculty is very strongly developed, so that he is at his best when treating subjects in which the romantic element is prominent. It must be admitted that his works in the regular classical forms are the least favourable specimens of his powers. When we consider the bent of his nature and the circumstances of his early life, this is not to be wondered at; the only wonder is that his concerted compositions should be as numerous and as successful as they are. As a rule, the interest of those movements in which an adherence to strict form is necessary, is kept up, not so much by ingenious developments and new presentments of the themes, as by the copious employment of new episodes, the relationship of which to the principal subjects of the movement is of the slightest. But in spite of these technical departures from time-honoured custom, the most stern purist cannot refuse to yield to the influence of the fresh charm with which the composer invests his ideas, and in most of his slow movements and scherzos there is no room for cavil. These two important sections of the sonata or symphony form have been materially enriched by Dvořák in the introduction and employment of two Bohemian musical forms, that of the 'Dumka' or elegy, and the 'Furiant,' a kind of wild scherzo. Both these forms, altogether new to classical music, have been used by him in chamber music and symphonies, and also separately, as in opp. 12, 35, 42, and 90.
9To his orchestral works the slight censure passed upon his chamber compositions does not apply. In his symphonies and other works in this class, the continual variety and ingenuity of his instrumentation more than make up for any such deficiencies as we have referred to in the treatment of the themes themselves, while his mastery of effect compels our admiration at every turn. Besides the five symphonies, opp. 24, 1 60, 70, 88, and 95, and the overtures which belong to his operas, we may mention a set of 'Symphonic Variations' (op. 40), a 'Scherzo capriccioso' (op. 66), and the overtures 'Mein Heim' (op. 62) and 'Husitska' (op. 67), both written on themes from Bohemian volkslieder. His most recent orchestral works, opp. 107-111, have been exclusively of a pictorial or narrative kind, sometimes raising a smile by their naïve realism. Three other orchestral works are stated to have been left in MS. at his death.
11Although in such works as the concerto op. 33, the pianoforte quartet in D, op. 23, and the three trios, opp. 21, 26, and 65, Dvořák has given evidence of a thorough knowledge of pianoforte effect, his works for that instrument alone form the smallest and least important class of his compositions.
13His songs belong for the most part to the earlier period of their career, but considering the extraordinary success attained by the 'Zigeunerlieder' on their publication, it is surprising that the other songs are not more frequently heard. These 'gipsy songs' show the composer at his best, uniting as they do great effectiveness with tender and irresistible pathos. His use of gipsy rhythms and intervals is also most happy.
15In his operas, if we may judge from those of which the vocal scores are published, his lighter mood is most prominent. 'Der Bauer ein Schelm' ('The Peasant a Rogue') is full of vivacity and charm, and contains many excellent ensembles. Both in this and in 'Die Dickschädel' ('The Obstinate Daughter,' literally 'The Thickhead') his love for piquant rhythm is constantly perceptible, and both bear a strong affinity in style to the 'Klänge aus Mähren' duets.
17None of his earlier works for chorus gave promise of what was to come in the 'Stabat Mater.' The 'Heirs of the White Mountain' is melodious, and contains passages of great vigour, and the 'local colour,' though by no means prominent, is skilfully used; but even those musicians who knew his previous compositions can scarcely have expected his setting of the Latin hymn to be full of the highest qualities which can be brought into requisition. Perhaps the most striking feature of his work is the perfect sympathy of his character with the spirit of the words. The Bohemian composer not only threw off all trace of his own nationality, but adopted a style which makes it difficult
191 The Symphony in F, written in 1875, to which the above number should have been affixed, was published as op. 76. The first performance in England took place at the Crystal Palace, April 7, 1888.
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