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Antonín Dvořák and the Concept of Czechness

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Antonín Dvořák and the Concept of Czechness 11 /1 hen the Czechoslovak Republic was born in 1918, fairly fresh on the market were the first books devoted entirely to Antonín Dvořák—all ofW which gave prominent attention to his ‘Czechness’. First came a compendium of essays by various authors published by the Umělecká beseda (Artists’ Society) in Prague in 1912.1 Here we find e.g. Emanuel Chvála writ- ing about the symphonic works: In contemporary worldwide symphonic literatu- re the symphonies of Dvořák are distinguished Con tempo diverso / Vzdálená blízkost společného (Praha, 30.-31 mainly by their national coloring, there explicit David R. BEvEridge Czechness. [...] (Prague) [...] Dvořák’s merit and his success in sympho- nies is that he filled the existing and established form, which he took as he found it, with new content, with his own music, permeated with Antonín Dvořák and Czechness—music healthy, original, and natural.2 the Concept of Czechness And in an essay on the piano music Karel Hoffmeister tells us: 1 Antonín Dvořák: Sborník statí o jeho díle a životě [ed. Bole- slav K ALENSKÝ] (Prague: Umělecká beseda, 1912). 2 Ibid., pp. 130, 133: V soudobé světové tvorbě symfonické vyznačují se symfonie Dvořákovy hlavně svojí národní barvou, svojí vyslovenou čes- kostí. [...] [...] Dvořákovou zásluhou a jeho úspěchem v symfonii jest, že stávající a ustálenou formu, již vzal tak, jak ji nalezl, naplnil obsahem novým, svojí vlastní, českostí proniknutou, zdravou, původní a přirozenou hudbou. ABSTRACT When the Czechoslovak Republic was born in 1918, fairly As concerns Czech patriotism, Dvořák was not nearly so fresh on the market were the first books devoted entirely fanatical as many of his countrymen were at the time. He to Antonín Dvořák. All gave prominent attention to the even joked about some of their extreme attitudes. Never- question of his ‘Czechness’—one of them critically (say- theless he was indeed a patriot himself and acted as such ing it was superficial), the others with approbation and mainly where this was most beneficial to the Czech cause: with great emphasis, as a key value in his music. One of in dealings with foreigners. For example when, quite ex- the authors saw in Dvořák’s Czech patriotism a hidden ceptionally, he himself chose explicitly Czech subjects for subtext in some of his most profound works of ‘absolute’ vocal works, these were mainly works written for England. instrumental music. However, closer examination and And his only known statements on the influence of Czech comparison of known facts as well as newly-discovered or Slavic folk music on his own compositions were in in- sources yields a different view of the matter. Nobody has terviews with journalists in America. yet shown convincingly what constitutes the Czechness of In 1918 the United States played an important role in the Dvořák’s music. What is clear is that his works are very origin of the Czechoslovak Republic. If Americans at that . 5. 2018) international, as were the experiences that influenced him time had some notion that there existed a Czech nation going back even to his childhood in rural Bohemia. The and an idea of what it was like, this probably stemmed commonly-used Czech or Slavic titles of many of his works to a great extent from awareness of Czech culture as rep- are somewhat deceptive, often the result of commissions resented by a composer whose works were conspicuous and/or attached to these works by persons other than the in American concert life, who had worked in America for composer. The zealous Czech patriots of Dvořák’s time, af- three years, and who during his stay there had proclaimed ter centuries of suppression of the culture of the Slavic (as his allegiance to his nation: Antonín Dvořák. opposed to German) residents of the Czech lands, wanted to hear in Dvořák’s marvelous works something ‘distinc- Key words: Dvořák, Antonín; Dvorak, Antonin; Czech na- tively Czech’, all the more when he became the first Czech tionalism; Czech patriotism; Furiant; Slavonic Dances; artist to gain very striking success abroad. Such a view establishment of Czechoslovakia; Šourek, Otakar; Bartoš, agreed with that of foreign music critics, who a priori Josef considered Italian, French, and especially German music to Number of characters / words: 62 540 / 10 396 be universal, whereas in music of all other countries they Number of figures: 3 perceived primarily national values, consisting in couleur Number of recorded musical excerpts: 4 locale, something exotic. Secondary language(s): Czech, German © Association for Central European Cultural Studies Clavibus unitis 7/1 (2018), pp. 11-26 12 David R. BEVERIDGE /2 The Furiant from Op. 12 [B. 137] is ‘effective in its unalloyed Czechness’.3 A Karel Stecker writes at the conclusion of his discussion of the large choral works: 4 R We want to draw special attention to just one thing: their Czechness [...]. T And in discussing the operas Tvrdé palice (The Stubborn Lovers, B. 46) and Šelma sedlák (The Cunning Peasant, B. 67) Otakar Hostinský writes of the ‘folkish, specifically Czech character of I the music’.5 Then in 1916 and 1917 Otakar Šourek came forward with the first two volumes of C his monumental Život a dílo Antonína Dvořáka (The Life and Work of Antonín Dvořák). In the U second volume we read: L Dvořák always expressed his human Czechness in his relation to his native land as well as to members of foreign nations with whom art brought him into contact; and he embodied I his artistic Czechness in every nuance of his copious oeuvre.6 The Cosmopolitan Character of Dvořák’s Music However, none of these writers, nor to my knowledge any other writer to this day, has shown convincingly in what this alleged pervasive Czechness of Dvořák’s music consists. What is clear, on the contrary, is that his music is very international in character, as are the influences that affected it going back even to his childhood spent in rural Bohemia. In the village of Nelahozeves, where he spent the first twelve years of his life, he apparently got a large dose of music from Hungary7 and a fair amount from Italy as well.8 In recollecting for a journalist his stay in Zlonice, where he lived from the ages of twelve to fifteen, he mentioned masses by Haydn, Mozart, and Cherubini.9 And we know that polkas 3 Antonín Dvořák: Sborník statí o jeho díle a životě [ed. Boleslav K ALENSKÝ] ( note 1), p. 197: Furiant z op. 12 je „účinný svojí ryzí českostí“. 4 Ibid., p. 248: Pouze na jedno chceme zvláště poukázati, totiž na jich českost [...]. 5 Ibid., p. 214: [V] melodice a rhythmice jeví se nepopíratelný vliv skladatele »Prodané nevěsty« (při »Šelmě sedlákovi« možno dodati i »Hubičky«), zejména vzhledem k lidovému, specificky českému rázu hudby. 6 ŠOUREK, Otakar: Život a dílo Ant. Dvořáka, vol. 2 (Prague: Hudební matice Umělecké besedy, 1917), p. 12: Svoje lidské češství Dvořák projevoval vždy svým poměrem k rodné zemi i k příslušníkům cizích národů, s nimiž jej svedlo umění ve styk; umělecké češství vtěloval pak v každý odstín svého velikého díla. 7 His father František Dvořák had spent about eight years wandering around the territory of the Habsburg Monarchy, mostly in today’s Hungary, it seems, returning home to Nelahozeves evidently about a year before the birth of his first child, Antonín. See the father’sWanderbuch (the official record of his journeys), deposited as a fragment in the Dvořák collection in the District Archive in Mělník under call number 1 A 19, inv. č. 154, analyzed in detail by Jarmil BURGHAUSER in his unpublished Chlapecká léta Antonína Dvořáka (photocopy given by Burghauser to the present author in 1993), pp. 23-29 and 118, also discussed by Jan Miroslav Květ in ‘Otec a matka skladatele Antonína Dvořák v Nelahozevsi’, Podřipský kraj vI/3 (1 September 1941), pp. 66 and Mládí Antonína Dvořáka, 2nd ed. (Prague: Orbis, 1943), pp. 23-24. It was in Hungary that František Dvořák learned to play the zither (see e.g. Květ’s Mládí... p. 30, probably based on information from one or more of the composer’s surviving sisters), which he then pursued with great zeal, playing for his customers in his tavern in Nelahozeves (as told to Květ by the composer’s sister Marie Urbanová—see his materials for the unpublished third edition of Mládí... in his papers held by the Dvořák Museum in Prague). František’s niece Anna DUškOVÁ reported in ‘Za A. Dvo- řákem: Kus rodinné tradice – Glosy k Dvořákovu sborníku „Hudební revue“’, Hudební revue v/2 (January 1912), p. 69 that he had made the wrong choice of profession, that he liked most to play the zither and ignored everything else. According to A. K. LOMOZ, ‘Upomínky na pobyt A. Dvořáka ve Zlonicích’, Dalibor XXvII/24-25 (29 April 1905), p. 194, col. [1] he played ‘with such zeal that he often neglected the business.’ (Svým hostům hrával na citeru s takovým zápalem, že tím i živnost často zanedbával.) 8 According to period chronicles kept by teachers in nearby vepřek, the railroad tunnel through the cliffs along the vltava river just south of Nelahozeves was dug ca. 1846-47 in part by Italian workers from Lombardy, who lived many months in the village, attracted attention by their frequent singing, and liked to gather for evenings of song in front of František Dvořák’s butcher’s shop in Nelahozeves. See ŠPECINGER, Otakar: ‘Hudební tradice Dvořákova rodného kraje’, Opus musicum XXII (1990), No. 6, p. 192, col. [2] and ‘Antonín Dvořák a Nelahozeves’, Opus musicum XXIII (1991), No. 8, p. 263. 9 PRY, Paul: ‘Enthusiasts Interviewed. No. XvII—“Pann” Antonin Dvorak’, Sunday Times (London) No.
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