I am referring to Dvorak's stay in Sillville, what a wonderful story,
thanks.
On Jan 3, 2008 11:26 PM, Stephen Vincent <[log in to unmask]> wrote:
> I once researched a book on Iowa. Dvorak spent several months - a
> 'vacation' - in Spillville, a Czech speaking community. However, this was
> after he had spent several months in New York as a teacher, etc. with
> pupils, including African-Americans, from all over the country. Apparently
> he was all ears for diverse America folk musics. See:
> http://www.spillvilleiowa.com/dvorak/dvorak.html
> Evidence suggests, it would seem, that Bernstein - lovable, creative and
> informed as he could be - was not so informed when it came to Dvorak.
> "Spillville" - somebody must have gotten there to name it before the
> Czech's - but it must have been wonderful to hear the Czech pronunciation!
>
> Stephen
> http://stephenvincent.net/blog/
>
>
> Mark Weiss <[log in to unmask]> wrote: Bernstein, in a tv talk about
> Dvorak's New World Symphony, questioned
> the old standby that it was full of American musical themes. He
> pointed out that Dvorak spent his entire trip, except when
> performing, in the Moravian settlements of Pennsylvania, and probably
> didn't get to hear much "american" music. Nonetheless, the slow
> movement became the ersatz negro [sic] spiritual "Going Home."
> Bernstein suggested that this was a product of US imagination. Would
> it sound different if we imagined the words "Czechoslovakia, how I
> long for thee?"
>
> Mark
>
> At 01:29 PM 1/3/2008, you wrote:
> >That would be the Daniel Jones who was childhood chums
> >with Dylan Thomas, verdad?
> >
> >Hal
> >
> >"There's a balance. There's a ying and a yang."
> > --Tony Soprano
> >
> >Halvard Johnson
> >================
> >[log in to unmask]
> >http://home.earthlink.net/~halvard/index.html
> >http://entropyandme.blogspot.com
> >http://imageswithoutwords.blogspot.com
> >http://www.hamiltonstone.org
> >http://home.earthlink.net/~halvard/vidalocabooks.html
> >
> >
> >On Jan 2, 2008, at 9:50 AM, Douglas Barbour wrote:
> >
> >>Well, like Fred, I found the footnote fascinating, & the comment on
> >>Janacek, whose String Quartets I am coming to love.
> >>
> >>This point is interesting to me with reference to the quartets of
> >>Daniel Jones -- romantically modern in their Welsh way....
> >>
> >>Doug
> >>On 31-Dec-07, at 3:27 PM, Roger Day wrote:
> >>
> >>>the cadences of all the various Englishes are different also. I
> >>>wonder
> >>>if Patel means English English, which as chalk to cheese compared to,
> >>>say, Welsh English etc. It's PC to say British English but as we all
> >>>know, Britain doesn't really exist.
> >>>
> >>>Roger
> >>>
> >>>On Dec 31, 2007 10:09 PM, Max Richards wrote:
> >>>> From a footnote [p.242]in Oliver Sacks's new book, Musicophilia...
> >>>>
> >>>>'What makes the music of Sir Edward Elgar sound so distinctively
> >>>>English?'
> >>>>they [Iversen, Patel and Ohgushi of the Neurosciences Institute]
> >>>>ask. 'What
> >>>>makes the music of Debussy sound so French?
> >>Douglas Barbour
> >>11655 - 72 Avenue NW
> >>Edmonton Ab T6G 0B9
> >>(780) 436 3320
> >>http://www.ualberta.ca/~dbarbour/
> >>
> >>Latest book: Continuations (with Sheila E Murphy)
> >>http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
> >>
> >>Oh, goddamnit, we forgot the silent prayer.
> >>
> >> Dwight D, Eisenhower
> >> [at a cabinet meeting]
>
--
Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing
star!
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