canvases—those for example of Vermeer. Dvo[vr]ák’s composi-
tions are varied and fairly numerous (some 111 opus numbers)
comprising operas, cantatas, chamber music, symphonies, over-
tures, pianoforte pieces and songs. From 1892 to 1895 he was
in this country as director of the National Conservatory in New
York. Three works composed during this period, aQuartet, a
QuintetandThe New World Symphony, are of special interest
to us since they were meant as a compliment to the possibilities
of American music and also reflect Dvo[vr]ák’s attitude toward
the sources of musical inspiration. A true child of the people,
and the embodiment of folk-music, he naturally searched for
native material when he wished to compose something char-
acteristically American. But folk-music in our country, as has
been stated in Chapter II, is (or was at Dvo[vr]ák’s time) prac-
tically limited to that of the Indians and the Negroes. It is often
stated, in fact, that the New World Symphony is founded upon
Negro tunes. This, however, is a sweeping assertion. There is
no doubt that Dvo[vr]ák found a strong affinity between certain
of the Southern plantation melodies and the songs of his native
land,e.g., the following melody (the second theme of the first
movement) which is similar to “Swing low, sweet chariot.”
[Music]
[Footnote 328: For his biography, consult the Hadow essay (re-
ferred to above) and the chapter on Dvo[vr]ák in Mason’sFrom
Grieg to Brahms.]
But the individual tone of the melodies could come only from
a Bohemian and if they seem both Negro and Bohemian it
simply proves the common bond existing in all folk-music.[329]
ThisNew World Symphonyhas had a great vogue and by rea-
son of the warmth of its melodies and the rich, colorful scor-
ing is indisputably a work full of charm.[330] Two prevalent
traits of Dvo[vr]ák’s music are noticeable in this symphony—the
unexpectedness of the modulations and the unusual harmonic
scheme.[331] The structure is at times rather loose, particularly
in the Finale where the joints often crack wide open. But, as
an offset, there is great rhythmic vitality—observe in particu-
lar the swing of the Trio from the Scherzo—and that sensuous
tone-color peculiar to the composer. In fact, the scoring of the
slow movement with its magical theme for English horn would
alone compensate for many structural blemishes. This move-
ment closes with a mysterious chord for divided double basses