Bernstein's point, as I remember faultily, was that the piece is
thoroughly European. And of course there was no Czechslovakia at the time.
Mark
At 05:26 PM 1/3/2008, you 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]
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