Dvořák, Antonín
▪ Bohemian composer
Introduction
born September 8, 1841, Nelahozeves, Bohemia, Austrian Empire [now in Czech Republic]
died May 1, 1904, Prague
first Bohemian composer to achieve worldwide recognition, noted for turning folk (
folk music) material into the language of 19th-century Romantic music.
Life
Dvořák was born in Nelahozeves, a Bohemian (now Czech) village on the Vltava River north of Prague. He came to know music early, in and about his father's inn, and as a youngster became an accomplished violinist contributing to the amateur music-making that accompanied the dances of the local couples. In 1857 a perceptive music teacher, understanding that young Antonín had gone beyond his own modest abilities to teach him, persuaded the elder Dvořák to enroll his son in an organ school in Prague. Later, without his father's financial assistance, Dvořák completed a two-year course and played the viola in various inns and with theatre bands, augmenting his small salary with a few private pupils.
The 1860s were trying years for Dvořák, who was hard pressed for both time and the means, even paper and a piano, to compose. In later years he said he had little recollection of what he wrote in those days, but about 1864 two symphonies, an opera, chamber music, and numerous songs lay unheard in his desk. The varied works of this period show, however, that his earlier leanings toward the music of Ludwig van Beethoven and Franz Schubert were becoming increasingly tinged with the influence of Richard Wagner (
Wagner, Richard) and Franz Liszt (
Liszt, Franz). In November 1873, at a time when a few successful concerts of his works had begun to make his name well known in Prague, he married Anna Čermáková and began an unusually happy family life.
In 1875 Dvořák was awarded a state grant by the Austrian government, and this award brought him into contact with Johannes Brahms (
Brahms, Johannes), with whom he formed a close and fruitful friendship. Brahms not only gave him valuable technical advice but also found him an influential publisher in Fritz Simrock, and it was with his firm's publication of the
Moravian Duets (composed 1876) for soprano and contralto and the
Slavonic Dances (1878) for piano duet that Dvořák first attracted worldwide attention to himself and to his country's music. The admiration of the leading critics, instrumentalists, and conductors of the day continued to spread his fame abroad, which led naturally to even greater triumphs in his own country. In 1884 he made the first of 10 visits to England, where the success of his works, especially his choral (
choral music) works, was a source of constant pride to him, although only the
Stabat Mater (1877) and
Te Deum (Te Deum laudamus) (1892) continue to hold a position among the finer works of their kind. In 1890 he enjoyed a personal triumph in Moscow, where two concerts were arranged for him by his friend Pyotr Ilyich Tchaikovsky (
Tchaikovsky, Pyotr Ilyich). The following year he was made an honorary doctor of music of the University of Cambridge.
Dvořák accepted the post of director of the newly established National Conservatory of Music in New York in 1892, and, during his years in the United States, he traveled as far west as Iowa. Though he found much to interest and stimulate him in the New World environment, he soon came to miss his own country, and he returned to Bohemia in 1895. The final years of his life saw the composition of several string quartets and symphonic poems and his last three operas.
Works
Bedřich Smetana, Dvořák's senior by 17 years, had already laid the foundations of the Czech nationalist movement in music, but it was left to Dvořák to develop and extend this in an impressive series of works that quickly came to rank in popularity with those of his great German contemporaries. The reasons for Dvořák's popularity lie in his great talent for melody and in the delightfully fresh Czech character of his music, which offered a welcome contrast to the heavier fare of some of his contemporaries.
Dvořák's technical fluency and abundant melodic inspiration helped him to create a large and varied output. He composed in all the musical genres and left works that are regarded as classics in all of them, with the possible exception of opera. All Dvořák's mature symphonies are of high quality, though only the sombre Symphony No. 7 in D Minor (1885) is as satisfactory in its symphonic structure as it is musically. (It should be explained that Dvořák's mature symphonies were long known as No. 1 to 5, even though he had written four earlier [and unnumbered] ones. All nine of his symphonies have since been renumbered from the traditional order to their actual order of composition.) Dvořák's Symphony No. 9 in E Minor (From the New World; 1893) remains his best-known work, partly, no doubt, because it was thought to be based on African American spirituals and other influences gained during his years in the United States. Although this may be true to some extent, the music is also characteristically Bohemian in its themes. However, the Symphony No. 9 is in no way superior to the Symphony No. 6 in D Major (1880) or the Symphony No. 8 in G Major (1889) and is actually less characteristic of the composer than these other works. Of the four concerti Dvořák wrote, only the Cello Concerto in B Minor (1895) can safely be called a classic.
In spite of the fact that his work in the medium is sometimes overstrained, Dvořák's chamber music is also of high quality. The
Piano Quintet in A Major (1887) is one of the glories of chamber music, and the string quartets, Opuses 51 (1879), 105 (1895), and 106 (1895), the
String Sextet, Opus 48 (1878), and the
Dumky Trio, Opus 90 (1891), also rank high. The choral works, so popular when they first appeared, have suffered the fate of most late 19th-century choral music, yet the
Stabat Mater (1877) and
Te Deum (1892) are among the better examples of their kind. Opera remained the one medium that proved recalcitrant to Dvořák's genius, though he wrote 10 of them, notably
Rusalka (1900). Many of Dvořák's most attractive works are among his miscellaneous, less-ambitious ones—the
Slavonic Dances (1878, 1886) and other piano duets, the
Symphonic Variations (1877), the
Bagatelles (1878), the
Gypsy Songs (1880), and the
Scherzo Capriccioso (1883).
Dvořák's chief faults are his overdiscursive and repetitive manner, occasional lapses in taste, and the weakness of design of his larger works. Such shortcomings, however, amount to little in the light of the astonishing fertility of his melody and the simplicity and directness with which he achieves his ends. As might be gathered from his music, Dvořák had an attractive personality; he was a humble and deeply religious family man of simple tastes and a great lover of nature.
David Mathias Lloyd-Jones
Additional Reading
Biographies and discussions of his compositions may be found in Otakar Šourek,
Antonín Dvořák: His Life and Works (1952); Alec Robertson,
Dvořák (1945, reissued with revisions, 1974), informative and scholarly; John Clapham,
Antonín Dvořák: Musician and Craftsman (1966), an admirable and erudite study of the composer's working methods, and
Dvořák (1979), a biography; Gervase Hughes,
Dvořák: His Life and Music (1967), which discusses Dvořák's compositions within a biographical framework and in relation to his sociological background; Václav Holzknecht,
Antonín Dvořák, 2nd ed. (1971); Robert Layton,
Dvořák Symphonies and Concertos (1978); and Hans-Hubert Schönzeler,
Dvorak (1984).
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Источник: Dvořák, Antonín
