Letting the Music 'Speak For Itself'? Dvořák as Strategist. Issue 3 (7th December 2022)

• Record Type: Journal Article
• Authors: Branda, Eva
• Is Part Of: Nineteenth-century music review. Volume 19:Issue 3(2022)
• Page Start: 599
• Page End: 624
• Publication Date: 2022-12-07
• Subjects: Music -- 19th century -- History and criticism -- Periodicals; 780.903405
• DOI: 10.1017/S1479409821000501
• Languages: English
• ISSNs: 1479-4098

Abstract

Abstract : 'I only write music and let it speak for itself' – such was Antonín Dvořák's attitude, according to Josef Kovařík, the composer's personal secretary in New York. Indeed, throughout his career, Dvořák seemed reluctant to share his views publicly. He did not contribute articles to Czech periodicals, his acquaintances were well aware of his dread of making public appearances and speeches, and contemporary critics often commented on his humble and unenterprising nature. Yet Dvořák was not as passive as his alleged statement to Kovařík would imply. While visiting England during the 1880s, he became particularly concerned about forging a certain kind of image for himself in the Czech lands. Not only did Dvořák take an interest in English reviews of his music, he also sent several of these critiques to his contacts at home with the request that they be reprinted in Czech translation in the newspapers and journals of Prague. He proved to be equally strategic in some of his other professional choices, including the surprising decision to dedicate his patriotic cantata Hymnus: Heirs of the White Mountain 'to the English people', which can be understood as a clever tactical ploy, meant to signal the composer's international credentials to audiences at home. Drawing upon various letters and the many excerpted English reviews that appeared in the Czech press, this article shows that Dvořák played an active part in determining which aspects of his reception in England would be relayed to the Czech public. More broadly, the article examines Dvořák's role as strategist – an aspect of the composer's career that has remained largely unexplored. Ultimately, Dvořák was mindful of what Michael Beckerman calls 'the public-relations aspect of nationalism', and the suggestion that he was content simply to let the music 'speak for itself' does not tell the whole story.