The Master's Little Joke: Antonín Dvořák and the Mask of Nation

Beckerman, Michael

doi:10.1515/9781400831692.134

Cited by 12 publications

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“…1, p. 315). For those readers who believe that Dvořák may have been exaggerating to advocate for his concerto with Simrock, consider Beckerman's assertion that ‘I have never found anything attributed to [Dvořák] that turned out later to be false, even when a particular statement seems unusual’ (1993, p. 137).…”

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Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

Smith¹

2022

Music Analysis

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Dvořák's Violin Concerto in A minor, Op. 53, maintains a curious position among the finest Romantic‐era compositions of the genre. Although it holds a secure place in the concert repertoire, it has achieved neither the exalted status of Beethoven's and Brahms's violin concertos, nor the popularity of those by Mendelssohn, Tchaikovsky and Bruch. Scholars invariably cite the failure of the concerto's dedicatee, Joseph Joachim, to perform the work as evidence of his disapproval, and attribute that reputed disapproval to the first movement's truncated sonata form. These critics rely on Joachim's authority to shut the door precipitously, without detailed engagement with the concerto's technical attributes. The record of Joachim's participation in the concerto's creation calls into question this received wisdom and raises the possibility that Joachim may have encouraged Dvořák to pursue his unusual formal strategy. Short of that scenario, Joachim may not have discouraged the composer from following a path of inspiration originating in either his own imagination or the example of another violin concerto strongly influenced by Joachim's input – the Bruch G minor. Comparison of the Dvořák and Bruch concertos supports the notion of a modelling and reveals Dvořák's immersion in many of the most innovative strategies that Romantic‐era composers adopted to reimagine late eighteenth‐century sonata conventions. Holistic analysis based on the theories of Caplin, Hepokoski and Darcy, and Schenker illustrates both the cogency of the first movement's sonata deformations and the centrality of the Adagio in overturning the tragic impact of the resulting formal ‘catastrophe’ in favour of a positive expressive outcome.

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Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

Smith¹

2022

Music Analysis

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The Poetics of National and Racial Identity in Nineteenth-Century American Literature

Kerkering

2003

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John D. Kerkering's study examines the literary history of racial and national identity in nineteenth-century America. Kerkering argues that writers such as DuBois, Lanier, Simms, and Scott used poetic effects to assert the distinctiveness of certain groups in a diffuse social landscape. Kerkering explores poetry's formal properties, its sound effects, as they intersect with the issues of race and nation. He shows how formal effects, ranging from meter and rhythm to alliteration and melody, provide these writers with evidence of a collective identity, whether national or racial. Through this shared reliance on formal literary effects, national and racial identities, Kerkering shows, are related elements of a single literary history. This is the story of how poetic effects helped to define national identities in Anglo-America as a step toward helping to define racial identities within the United States. This highly original study will command a wide audience of Americanists.

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Introduction: the poetics of identity

Kerkering¹

2003

The Poetics of National and Racial Identity in Nineteenth-Century American Literature

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The Master's Little Joke: Antonín Dvořák and the Mask of Nation

Cited by 12 publications

References 0 publications

Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

The Poetics of National and Racial Identity in Nineteenth-Century American Literature

Introduction: the poetics of identity

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