Dvorak's Czech Suite - Nationalism in the Romantic idiom
Created | Updated Jan 28, 2003
Integral to the image of Antonin Dvorak in the populist philosophies of music history is the intense and fervent desire to create music influenced by Slavonic ethnicity. For the most part, this was catalyzed by a desire to celebrate the people and landscape of the country for which he had great affection. As he wrote in a letter to his publisher Simrock, he strongly believed that "an artist has his country in which he must have firm faith and an ardent heart." (Sourek, 98) The essence of the Czech homeland, and indeed therefore the Romantic style, is in no place more richly celebrated than Dvorak's Czech Suite, a five-movement work for orchestra which, although frequently left in the shadow of the composer's more popular works, portrays the character of that great nation affectionately.
Deliberate and tuneful melodies are a hallmark of Romantic music (Machlis 72). They allow emotional ideas to be developed fully and provide a necessary diversion from the potentially profound aspects of the piece. In fact, the inspiration for the melodies of this movement was a Czech folk-dance. (Score, p. iii) Specifically, the principal theme (m. 1-22) is present throughout the movement, tempered by harmonies which complement and add to the atmosphere. Leon Janácek said of Dvorak's melodies "(they) were as if he had taken them from my heart."
Musically, the Suite provides little challenge to the ear. It is as listenable as a pop tune or Mozart piano concerto, but contains none of the innate symmetry and proportion common in the abovementioned. Instead, Dvorak's lilting themes, better conducted in 1 to promote a steady pulsation, brings to mind the unpredictability of the European countryside. The style known now as 'Czech' incorporates unique patterns of modulation, rhythms, and other fundamentally distinctive elements (Beveridge, 144) which are obvious in the work discussed and easily recognizable to the uninformed listener. Consider the interplay between the strings and the distinct feel at 293, and the emphasized beat 1 at 276 in the cellos tempering the melody in violin I. Both of these elements are present (in other permutations) in Smetana's work. Clearly, the Czech national consciousness embraced such motives in its folk music.
Rimsky-Korsakov indicates that a single musical idea may be expressed in varying ways to change the tone colour and emotional meaning (99). Dvorak employs this theory to the fullest: through different orchestrations he allows a whirlwind of emotions to be experienced- the traditional pairing of the flute and clarinet creates a brilliant tone supplemented by strings. Horns and trumpets, with timpani, sound martial fanfares (e.g. m.154), which lead to the regal second subject at 165. The use of the oboe as a solo instrument to introduce themes (as at m.1-22), was not innovative, but allows the cantabile and peaceful character of the double reed instruments, as described by Rimsky-Korsakov, to be heard as the symbolic voice of folk instruments (18).
Instrumentation of other works varies from chamber groups through large Wagnerian ensembles- this was another liberty Dvorak enjoyed because of the relative freedom of the Romantic orchestra.
In interpreting such a work as the Czech Suite it is important to note the usage of specific articulations as indicated by the composer. Arman notes that most ethnically-inspired music uses a specific set of articulations for each motif or theme, creating a non-musical sound, not unlike effects in modern motion pictures. Distinct markings in the score, if followed, are another way that a composer's emotional state can be passed to the listener, allowing the passionate expression of the Romantic era to be fully realized. In addition, numerous temporary changes in tempo are noted (m. 239, 247, 369, 384), along with frequent sforzandi for additional emotional emphasis.
It has been said that Dvorak's nationalistic themes were inspired by the writing of Bedrich Smetana- in fact he felt Smetana's shadow was too oppressive, staying away from large works. (Beckerman, 34.) Vaclav Tálich, a modern-day conductor, once said "(Dvorak) rewelds the naturalist rhythms of country music into rhythmic poetry." Truly, his musical representations of Czechoslovakia show the maturity and energy of the folk music from which they were derived, but there is also a sort of inherent passion and formality which allows the listener to experience the sensation of nobility and pageantry as well. (m. 384)
To show that a piece indeed is "nationalist", music historian Carl Dahlhaus indicates the following:
"If a composer intended a piece of music to be national in character and the hearers believe it to be so,that is something which the historian must accept." (Beveridge)
Naturally, it was the composer's wish that this Suite be interpreted as a description of his homeland, and it has been described as such by audiences and music critics. This opinion gradually became part of the public record, and it was in this way that the Czech national school was formed. This was not a 'bourgeois nationalism' movement, as proposed by Dahlhaus (Beveridge, 119), but a deeper, more social linkage to the real and verifiable past. By 1890, Dvorak was known throughout the world as the first to promote the Slavic idiom in the West. He clearly believed that composers of nationalistic music must immerse themselves in such works: in the Chicago Tribune he wrote an extensive letter stressing the necessity for "conscientious study" of the characteristics of the nation (Beckerman, 138).
Unlike his contemporaries such as Smetana, Dvorak was not heavily influenced by the Romantic idiom popular in the early 19th century. His roots were humble: as the son of a butcher, his musical experiences had been limited to the Bohemian style, and his music lacked an overpowering, cohesive theme (Beckerman, 30). Much like the court composers of the Classical era, Dvorak was 'discovered' so to speak, and was thenceforth sent to study in Prague. This may have provided a common link with the emerging middle class who so enjoyed his music. He was, it appears, quite popular with the people, noted Hans Richter in a letter to the composer in May 1882, detailing the success of one of his works (Sourek, 65). It was, of course, the people's own music, and the importance of the concert hall as a venue for music was once again underlined.
Holistically, Dvorak pursued a clearly defined Romantic compositional style. His calculated, pleasant melodies, based on folk tunes, are the fundamental link with the emotions of a nation's people. Technical elements such as rhythm, articulation, and pulse provide further relationships with rural music. Variation of motives and orchestration allow different instruments to evoke specific emotions. The nationalistic idiom, despite its popularization, is truly tapped by this piece. A link with the common people, so frequently an aspect of Romantic composers' lives, allowed Dvorak to extend emotional sentiment to the commoners as well as the emerging middle class. Criticism of this work as impersonal and cold is limited- it is the great warmth and emotion of the Czech Suite which has allowed generations to experience life from Slav eyes. Its emotional importance is the vital idea which causes it to be one of Eastern Europe's most well-loved Romantic works.
Works Cited
Arman, Nurhan. Masterclass, RCM Conducting Institute. Royal Conservatory of Music, Toronto. 21 July 2001.
Beckerman, Michael, ed. 1993. Dvorak and His World. Princeton, NJ: Princeton University Press.
Beveridge, David R., ed. 1996. Rethinking Dvorak: Views from five countries. Oxford: Clarendon Press.
Dvorak, Antonin. 1881. “Czech Suite”, op. 39. Critical edn. With foreword by Otakar Šourek, Miami: Kalmus.
Machlis, Joseph, and Kristine Forney. 1999. The Enjoyment of Music, 8th ed. New York: W.W. Norton & Company.
Rimsky-Korsakov, Nikolai. 1891. Principles of Orchestration. New York: Dover.
Šourek, Otakar, ed. 1954. Antonin Dvorak: Letters and reminiscences. Prague: Artia. translated by RF Samsour.
Deliberate and tuneful melodies are a hallmark of Romantic music (Machlis 72). They allow emotional ideas to be developed fully and provide a necessary diversion from the potentially profound aspects of the piece. In fact, the inspiration for the melodies of this movement was a Czech folk-dance. (Score, p. iii) Specifically, the principal theme (m. 1-22) is present throughout the movement, tempered by harmonies which complement and add to the atmosphere. Leon Janácek said of Dvorak's melodies "(they) were as if he had taken them from my heart."
Musically, the Suite provides little challenge to the ear. It is as listenable as a pop tune or Mozart piano concerto, but contains none of the innate symmetry and proportion common in the abovementioned. Instead, Dvorak's lilting themes, better conducted in 1 to promote a steady pulsation, brings to mind the unpredictability of the European countryside. The style known now as 'Czech' incorporates unique patterns of modulation, rhythms, and other fundamentally distinctive elements (Beveridge, 144) which are obvious in the work discussed and easily recognizable to the uninformed listener. Consider the interplay between the strings and the distinct feel at 293, and the emphasized beat 1 at 276 in the cellos tempering the melody in violin I. Both of these elements are present (in other permutations) in Smetana's work. Clearly, the Czech national consciousness embraced such motives in its folk music.
Rimsky-Korsakov indicates that a single musical idea may be expressed in varying ways to change the tone colour and emotional meaning (99). Dvorak employs this theory to the fullest: through different orchestrations he allows a whirlwind of emotions to be experienced- the traditional pairing of the flute and clarinet creates a brilliant tone supplemented by strings. Horns and trumpets, with timpani, sound martial fanfares (e.g. m.154), which lead to the regal second subject at 165. The use of the oboe as a solo instrument to introduce themes (as at m.1-22), was not innovative, but allows the cantabile and peaceful character of the double reed instruments, as described by Rimsky-Korsakov, to be heard as the symbolic voice of folk instruments (18).
Instrumentation of other works varies from chamber groups through large Wagnerian ensembles- this was another liberty Dvorak enjoyed because of the relative freedom of the Romantic orchestra.
In interpreting such a work as the Czech Suite it is important to note the usage of specific articulations as indicated by the composer. Arman notes that most ethnically-inspired music uses a specific set of articulations for each motif or theme, creating a non-musical sound, not unlike effects in modern motion pictures. Distinct markings in the score, if followed, are another way that a composer's emotional state can be passed to the listener, allowing the passionate expression of the Romantic era to be fully realized. In addition, numerous temporary changes in tempo are noted (m. 239, 247, 369, 384), along with frequent sforzandi for additional emotional emphasis.
It has been said that Dvorak's nationalistic themes were inspired by the writing of Bedrich Smetana- in fact he felt Smetana's shadow was too oppressive, staying away from large works. (Beckerman, 34.) Vaclav Tálich, a modern-day conductor, once said "(Dvorak) rewelds the naturalist rhythms of country music into rhythmic poetry." Truly, his musical representations of Czechoslovakia show the maturity and energy of the folk music from which they were derived, but there is also a sort of inherent passion and formality which allows the listener to experience the sensation of nobility and pageantry as well. (m. 384)
To show that a piece indeed is "nationalist", music historian Carl Dahlhaus indicates the following:
"If a composer intended a piece of music to be national in character and the hearers believe it to be so,that is something which the historian must accept." (Beveridge)
Naturally, it was the composer's wish that this Suite be interpreted as a description of his homeland, and it has been described as such by audiences and music critics. This opinion gradually became part of the public record, and it was in this way that the Czech national school was formed. This was not a 'bourgeois nationalism' movement, as proposed by Dahlhaus (Beveridge, 119), but a deeper, more social linkage to the real and verifiable past. By 1890, Dvorak was known throughout the world as the first to promote the Slavic idiom in the West. He clearly believed that composers of nationalistic music must immerse themselves in such works: in the Chicago Tribune he wrote an extensive letter stressing the necessity for "conscientious study" of the characteristics of the nation (Beckerman, 138).
Unlike his contemporaries such as Smetana, Dvorak was not heavily influenced by the Romantic idiom popular in the early 19th century. His roots were humble: as the son of a butcher, his musical experiences had been limited to the Bohemian style, and his music lacked an overpowering, cohesive theme (Beckerman, 30). Much like the court composers of the Classical era, Dvorak was 'discovered' so to speak, and was thenceforth sent to study in Prague. This may have provided a common link with the emerging middle class who so enjoyed his music. He was, it appears, quite popular with the people, noted Hans Richter in a letter to the composer in May 1882, detailing the success of one of his works (Sourek, 65). It was, of course, the people's own music, and the importance of the concert hall as a venue for music was once again underlined.
Holistically, Dvorak pursued a clearly defined Romantic compositional style. His calculated, pleasant melodies, based on folk tunes, are the fundamental link with the emotions of a nation's people. Technical elements such as rhythm, articulation, and pulse provide further relationships with rural music. Variation of motives and orchestration allow different instruments to evoke specific emotions. The nationalistic idiom, despite its popularization, is truly tapped by this piece. A link with the common people, so frequently an aspect of Romantic composers' lives, allowed Dvorak to extend emotional sentiment to the commoners as well as the emerging middle class. Criticism of this work as impersonal and cold is limited- it is the great warmth and emotion of the Czech Suite which has allowed generations to experience life from Slav eyes. Its emotional importance is the vital idea which causes it to be one of Eastern Europe's most well-loved Romantic works.
Works Cited
Arman, Nurhan. Masterclass, RCM Conducting Institute. Royal Conservatory of Music, Toronto. 21 July 2001.
Beckerman, Michael, ed. 1993. Dvorak and His World. Princeton, NJ: Princeton University Press.
Beveridge, David R., ed. 1996. Rethinking Dvorak: Views from five countries. Oxford: Clarendon Press.
Dvorak, Antonin. 1881. “Czech Suite”, op. 39. Critical edn. With foreword by Otakar Šourek, Miami: Kalmus.
Machlis, Joseph, and Kristine Forney. 1999. The Enjoyment of Music, 8th ed. New York: W.W. Norton & Company.
Rimsky-Korsakov, Nikolai. 1891. Principles of Orchestration. New York: Dover.
Šourek, Otakar, ed. 1954. Antonin Dvorak: Letters and reminiscences. Prague: Artia. translated by RF Samsour.
