Speaking German, Hearing Czech, Claiming Dvořák. Issue 1 (2nd January 2017)

• Record Type: Journal Article
• Authors: Branda, Eva
• Is Part Of: Journal of the Royal Musical Association. Volume 142:Issue 1(2017)
• Page Start: 109
• Page End: 136
• Publication Date: 2017-01-02
• Subjects: Music -- History and criticism -- Periodicals; Music -- Periodicals; 780.5
• DOI: 10.1080/02690403.2017.1286129
• Languages: English
• ISSNs: 0269-0403

Abstract

ABSTRACT: Discussions of Dvořák's Sixth Symphony typically focus on its connections with Vienna. Dvořák wrote the symphony for the Vienna Philharmonic and dedicated it to Hans Richter. Its allusions to Brahms and Beethoven led David Brodbeck to describe it as a piece in which Dvořák 'speaks German with an unusual degree of clarity'. Contemporary Czech critics tell a different story. After its 1881 Prague première, the work was dubbed the 'Czech Spring Symphony'. One critic stated that it 'speaks to us in pure Czech'. Indeed, the Sixth is Dvořák's only symphony to include a furiant, and Czech scholars have long sought to prove that the work's themes were derived from Bohemian folk songs. Can these narratives be reconciled? This article suggests that political tensions and Dvořák's growing international renown made Czech critics eager to claim him, giving Czech labels to a piece that could be interpreted as conforming to the Austro-German tradition.