![]() ![]() #Melody assistant change tempo in the middle series#ĭvorak often referred to these aspects in his interviews for the American press: “ In the Negro melodies of America I discover all that is needed for a great and noble school of music.” (New York Herald, )ĭvorak’s theory whipped up a furore in both American and European newspapers and journals, and a series of eminent authorities on music expressed their own opinions (Anton Bruckner, Hans Richter, Arthur Rubinstein, Joseph Joachim and Anton Seidl, among others). ![]() According to the recollections of Josef Kovarik, these reactions didn’t surprise Dvorak in the least: “ Faced with all these articles the Maestro remained impassive and unruffled, and he did not make any attempt to modify his statement on American music.Ī number of them wholly rejected the idea, perhaps also because Dvorak had been misrepresented: it was not his intention simply to take existing melodies and forge them into new works, as was sometimes suggested. The only thing he said was: “So these gentlemen think it is impossible? Well, we’ll see about that!”įor over a hundred years experts have argued whether or not Dvorak used specific melodies from Negro songs in his symphony. He expressed himself clearly on this issue at the time, both in public and in his private correspondence. In an interview for the New York Herald, he stressed the following: “ It is merely the spirit of Negro and Indian melodies which I have tried to reproduce in my new symphony. ![]() #Melody assistant change tempo in the middle series#.#Melody assistant change tempo in the middle professional#. ![]()
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