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Ouvrir La Préface (PDF) III Vorwort als er in Prag seine frühere Lehrtätig- siehe die Bemerkungen am Ende der vor- keit als Professor für Komposition und liegenden Edi tion). Für beide Komposi- Instrumentation am Konservatorium tionen forderte Dvorák ein erheblich wieder aufnahm. Während der Arbeit höheres Honorar, als es bei ihm zuvor am Quartett op. 105 schrieb er am für Kammermusikwerke üblich war, was Antonín Dvorák (1841 – 1904) war seit 23. Dezember an seinen Freund Alois sowohl den erhöhten Marktwert seiner Herbst 1892 als Musikdirektor am Na- Göbl: „Ich bin jetzt sehr fleißig. Ich Musik als auch sein gestiegenes Selbst- tional Conservatory of Music in New arbeite so leicht und es gelingt mir so bewusstsein unterstreicht. „Das Hono- York tätig. 1895 verbrachte er wie im wohl, daß ich es mir gar nicht besser rar für die 2 Quartette ist à 3000 Mark Jahr zuvor seine Sommerferien in Böh- wünschen könnte. Ich habe soeben mein jedes (= 6000 Mark) gewiß so hoch be- men. Im August entschloss er sich, nicht neues Quartett G-dur beendet und jetzt messen, wie irgend denkbar!“, stöhnte mehr nach Amerika zurückzukehren. beschließe ich schon wieder ein zweites Simrock, akzeptierte die For derung Neben der finanziell angespannten Si- in As-dur, zwei Sätze habe ich ganz fer- aber ohne weitere Verhandlung (Brief tuation des Conservatory waren Heim- tig und das Andante [so die ursprüngli- vom 15. Mai 1896, Korrespondenz und weh und die monatelange Trennung von che Bezeichnung für Satz III] schreibe Dokumente, Bd. 8, Prag 2000, S. 25). seinen Kindern ausschlaggebend für ich gerade und ich denke, ich werde es Vermutlich fand die Uraufführung diese Entscheidung. Nach einer länge- nach den Feiertagen beenden“ (Origi- des As-dur-Quartetts am 20. Oktober ren Erholungspause begann er im No- nal auf Tschechisch, deutsche Überset- 1896 in Prag mit dem Rosé Quartett vember 1895 in Prag wieder mit der zung zitiert nach Dvorák in Briefen und (Arnold Rosé, August Siebert, Hugo schöpferischen Arbeit. Kurz nacheinan- Erinnerungen, S. 205). von Steiner, Reinhold Hummer) statt. der komponierte er die beiden Streich- Die enge zeitliche Nachbarschaft der Rasch schlossen sich Aufführungen in quartette in G-dur op. 106 und in As- Opera 105 und 106 schlug sich auch in mehreren deutschen Städten sowie in dur op. 105 – laut den Datierungen in der gemeinschaftlichen Drucklegung Kopenhagen, Wien, Boston und New den Skizzen und Autographen das erst- nieder. Obwohl Dvoráks Verleger Fritz York an, wo das neue Werk überwie- genannte vom 11. November bis 9. De- Simrock auf die rasche Zusendung der gend zustimmende bis begeisterte Re- zember, das letztgenannte vom 12. bis beiden Kammermusikwerke drängte, aktionen hervorrief. 30. Dezember. hielt der Komponist sie zunächst noch Vom Einfluss indianischer oder afro- Für sein Streichquartett As-dur zurück. „Auch die Quartette werden amerikanischer Musik ist in diesem letz- op. 105 konnte Dvorák auf eine am bei mir fleißig gespielt, um die Noten ten Kammermusikwerk Dvoráks – eben- 26. März 1895 in New York begonnene so möglich als gut [sic] (fehlerfrei) zu so wie im kurz zuvor abgeschlossenen erste Niederschrift des Anfangs zurück- geben“ (Brief an Simrock vom 5. Mai Schwesterwerk in G-dur – nichts mehr greifen. Wegen der Vorbereitungen für 1896, Antonín Dvorák. Korrespondenz zu spüren, auffallend ist eher die Fülle die Überfahrt nach Europa musste er und Doku mente, hrsg. von Milan Kuna an kantablen Themen und Motiven und damals die Komposition abbrechen und et al., Bd. 4, Prag 1995, S. 27). Zwar deren überaus kunstvolle und kontrast- nahm sie – für ihn eher ungewohnt – sind keine weiteren Dokumente dazu be- reiche Verarbeitung. Es scheint, als sei in seinem Sommersitz im böhmischen kannt, aber man darf annehmen, dass die Erleichterung über das Wiedersehen Vysoká auch nicht wieder auf. Er be- Dvorák die Proben mit den eng befreun- mit seinen Kindern und Freunden di- gründete dies in einem Brief vom 30. Ju- deten Mitgliedern des Böhmischen Quar- rekt in das Werk eingeflossen. Dvorák li 1895 an den Cellisten Hanuš Wihan tetts (Karel Hoffmann, Josef Suk, Oskar selbst äußerte während der Komposi- folgendermaßen: „Seit ich aus Amerika Nedbal, Hanuš Wihan) ausführen ließ. tion in dem schon zitierten Brief an gekommen bin, habe ich die Feder nicht Den Hintergrund für diese Vorsichts- Göbl: „Aber der Herrgott hat uns die- angerührt, und so ist auch das neue maßnahme bildet Simrocks Klage über sen glück lichen Augenblick vergönnt, Quartett, das ich in New York angefan- die Fehlerhaftigkeit der Abschriften, die und darum fühlen wir uns alle so un- gen habe, noch nicht fertig. Der erste Dvo rák ihm als Stichvorlagen für frü- aussprechlich glücklich“ (Original auf Satz ist noch unvollendet und von den here Werke zugesandt hatte. Daher heißt Tschechisch, deutsche Übersetzung zi- übrigen keine Spur! – Hier in Vysoká es im Brief an den Verleger vom 10. Mai: tiert nach Dvorák in Briefen und Erin­ ist [es] mir leid um die Zeit und ich ge- „Die Part[ituren] der Quartett[e] sind nerungen, S. 205). nieße lieber Gottes Natur!“ (Original fertig und mit Nedbal korrigiert“ (Korre­ auf Tschechisch, deutsche Übersetzung spondenz und Dokumente, Bd. 4, S. 28). Allen in den Bemerkungen genannten zitiert nach Antonín Dvorák in Briefen Am 20. Mai bestätigte Simrock den Er- Bibliotheken sei an dieser Stelle herz- und Erinnerungen, hrsg. von Otakar halt der heute verschollenen abschrift- lich für die freundliche Bereitstellung Šourek, Prag 1954, S. 199). lichen Stichvorlagen für Stimmen und der Quellenkopien gedankt. So fern Dvorák das Komponieren in Partituren beider Quartette, die spätes- diesem Sommer auch lag, so mächtig tens im September im Druck erschienen München, Herbst 2016 setzte die Inspiration ab November ein, (zu den Quellen und ihrer Bewertung Peter Jost HN_1352_Vorwort_SRZ.indd 3 28.10.2016 13:58:32 Preface atory. During work on the Quartet he market value of his music and his great- wrote on 23 December to his friend er self-confidence. “At 3000 Marks each Alois Göbl: “I am now working very (= 6000 Marks), the honorarium for the hard. I work so easily and everything two quartets is certainly as high as pos- goes ahead so well that I could not wish sibly conceivable!” groaned Simrock, but Antonín Dvorák (1841 – 1904) had been it better. I have just finished a new G ma- he accepted the demand without further active since autumn 1892 as Music Di- jor quartet and now again am finishing negotiation (letter of 15 May 1896, Cor­ rector of the National Conservatory of a second in A flat major. Two movements respondence and Documents, vol. 8, Music in New York. In 1895, as in the are quite complete and I am just writ- Prague, 2000, p. 25). preceding year, he spent his summer ing the Andante [the original designa- The première of the Ab major Quartet holidays in Bohemia. In August he de- tion for movement III], and expect to was probably given on 20 October 1896 cided not to return to America. Besides be finished with [it] after the holidays” in Prague by the Rosé Quartet (Arnold the Conservatory’s strained financial (Czech in the original, English trans- Rosé, August Siebert, Hugo von Steiner, situation, his homesickness and the sep- lation as cited in Dvorák. Letters and Reinhold Hummer). Performances fol- aration from his children for months at Reminiscences, p. 191). lowed soon thereafter in a number of a time were determining factors in his The close temporal proximity of German cities as well as in Copenhagen, decision. In November 1895, after a op. 105 and 106 is also reflected in their Vienna, Boston and New York, where lengthy recovery period, he resumed his joint publication. Although Dvorák’s the new work mainly eli cited reactions creative work in Prague, and in short publisher Fritz Simrock urged that the ranging from affirmative to enthusias- succession composed the two String two chamber music works be sent as tic. Quartets in G major op. 106 and in Ab soon as possible, the composer initially As with the G major sibling work major op. 105 – according to the dates held them back. “The quartets, too, are finished shortly beforehand, the influ- in the sketches and autographs, the for- diligently being played here in order to ence of Indian or Afro-American music mer from 11 November to 9 December, provide the music as error-free as pos- is no longer perceptible in this last of the latter from 12 to 30 December. sible” (letter to Simrock, dated 5 May Dvorák’s chamber music works. Con- For his String Quartet in Ab major 1896, Antonín Dvorák. Correspondence spicuous are, rather, the abundance of op. 105, Dvorák was able to draw upon and Documents, ed. by Milan Kuna et cantabile themes and motifs and their a first draft of the opening that he had al., vol. 4, Prague, 1995, p. 27). Al- very elaborate and richly contrasting begun on 26 March 1895 in New York. though no further documents on the treatment. It seems as if at being reu- Preparations for the voyage to Europe subject are known, it may be assumed nited with his children and friends meant that he had to interrupt his work that Dvorák had the read-throughs per- flowed directly into the work. While on the composition, but – rather unusu- formed by members of the Bohemian composing it, Dvorák expressed this ally for him – he did not take it up again Quartet (Karel Hoffmann, Josef Suk, in the above-cited letter to Göbl: “But at his summer residence in Vysoká, Bo- Oskar Nedbal, Hanuš Wihan), who were God has been pleased to grant us this hemia. He explained this as follows in a close friends of his. The context for this happy moment and so we all feel inex- letter, dated 30 July 1895, to the cellist precautionary measure was Simrock’s pressibly glad!” (Czech in the original, Hanuš Wihan: “Since I have come back complaints about the faultiness of cop- English translation as cited in Dvorák.
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