Part 8 (1/2)

But Dvorak could not wholly give up to mankind what was meant, in the first instance, for a patriotic party. The opening of the New Bohemian Theatre in 1881 recalled him from Legends and Rhapsodies into the full stir and impetus of national life, and set him once more in the van of that strange, half-artistic, half-political movement that had found its type and representative in the 'Heirs of the White Mountain.' The two works which he wrote this year for the stage have almost the tone of manifestoes; curiously alike in scope and plan, curiously different in the measure of their ultimate value. Both make direct appeal to popular sympathy; both recall some notable period in the history of Bohemia; both draw their inspiration from melodies that have gained acceptance among the folk-songs of the people. But here parallel gives way to contrast. The Husitska overture, founded on a famous battle-song of the Hussite wars, is a masterpiece which turns to a n.o.ble use, one of the finest themes in Bohemian art--the incidental music to Samberk's 'Tyl,'

takes perforce the poor melody of the national anthem, for which Tyl had written the words, and so foredooms itself to failure by a fault that is not its own. Of course in the latter case the choice was inevitable. A drama which had the revolutionary poet for central figure, could only be set by _motifs_ that made reference to the best known of his works, and in Bohemia, as in many other countries, the national anthem has been accepted by accident, and maintained by force of a.s.sociation. Still, the comparison of the two results is a lesson of the highest significance.

In Husitska, Dvorak selected a genuine folk-song, and raised it into a national monument that will stand the test of time. In Tyl he borrowed the tune of a Prague Kapellmeister, and with all ingenuity of treatment, could lift it to no higher level than that of a _piece d'occasion_. It was perfectly natural that both works alike should obtain an immediate welcome. They appeared at a moment of crisis; they addressed a sentiment of loyalty; they stood for the time outside the range of dispa.s.sionate criticism. But to us, who may regard the matter from a purely artistic standpoint, the difference between them is incalculable. Both are well written; both have accessory themes of great beauty; both are scored with all their composer's accustomed skill, but one is built upon the bed-rock of the Bohemian mountains, the other upon an artificial bas.e.m.e.nt that only holds together by external support.

Having once more gained access to the Theatre, Dvorak proceeded to occupy the position, and in 1882 strengthened it by the production of Dimitrij, which, among all his operas, is the largest in scale, and the most dramatic in treatment. He had, indeed, a subject made to his hand.

The romance of history contains no more striking episode than that of the false Demetrius; a story of heroism and imposture, of honour in conflict with ambition, of love that betrays a trust, and jealousy that wrecks a life. Marina's character is one of singular interest and complexity, torn between allegiance to her nation and loyalty to her husband, aiding him to usurp the throne which he believes to be his by right, denouncing him in anger when he uses his power against her countrymen, watching his a.s.sa.s.sination on the spot where she had shared his triumph. Here are no foregone conclusions; no idle displays of theatrical ingenuity; no stage lay figures clad in traditional garb; the whole event is a transcript from nature, vivid, real, convincing, and the more tragic for the cross issue upon which it turns. It may be added that Dvorak has accomplished his part in the work with unusual care and anxiety. After the first performance some important changes were made, notably in the overture, and in the closing scenes, and though the music has since been printed in its revised form, the composer, still dissatisfied, has recently submitted it to a new process of recension. Yet in its earlier shape the score contained pa.s.sages and numbers which the world would be the poorer for losing. The most relentless self-criticism could hardly have bettered the entry into Moscow, or Xenia's flight, or the great duet in the second act.

Meantime the curtain was rising upon another scene, which had England for its stage, and Dvorak himself for its hero. As early as 1879, the attention of English musicians had been aroused by a performance of the Slavische Tanze; the interest once excited had steadily grown and gathered as new works made their appearance; and, in March 1883, the composer was invited over to conduct his Stabat Mater at the Albert Hall. His reception was one of the most cordial ever offered by our land to a foreign artist. The house was crowded and appreciative; the press for once raised a unanimous voice of approbation; the example set by London was soon followed by other great centres throughout the country. No doubt there was something of fas.h.i.+on and novelty in the movement:--every great stream of tendency carries these attendant bubbles upon its surface: but at least the current was set in a right direction, and was destined to maintain its course without swerving. The lapse of years may have brought us a cooler judgment; it has certainly brought us a stronger and more reasoned admiration.

In 1884 the Stabat Mater was repeated at Worcester, where it met with so brilliant a success, that Dvorak was at once commissioned to write a cantata for next year's Birmingham Festival. As libretto he took a Slavonic version of the Lenore legend, a vampyre story, even wilder and more savage than the famous ballad which Burger wrote, and Scott translated. It is not, perhaps, a very satisfactory subject for a long work. There is too much monotony of suffering: there is too much gloom and terror and pain: a tragedy so unrelieved comes near to over-straining the sympathy of the spectator. But for all this it offers certain points of vantage which Dvorak was abundantly qualified to seize. In setting the words, he wisely treated the musical aspect as paramount, brought to the task all his resources of rhythm and harmony and melodic invention, and produced a poem in which horror itself is made beautiful, and darkness lightened with flashes of electric genius.

Grant that the 'Spectre's Bride' is too long, that it needs compression; that it loses effect by repet.i.tion and redundance; none the less it can show some of the finest numbers that its composer has ever written, and with such summits attained, may well look down upon any censure of inequality.

A remarkable contrast is afforded by the Oratorio of St Ludmila, which was produced at the Leeds Festival of 1886. The theme is fertile in opportunity, the book is written by the first of living Bohemian poets, the music dates from the centre of Dvorak's richest period, and yet the whole impression left on the hearer is one of failure and disappointment. For this our own reputation is chiefly to blame. It is a matter of common belief abroad, that the only works which can really attract a British audience are the Elijah and the Messiah; that in them we find all music comprised, that from them we construct a standard by which we test the entire range of composition. Perhaps our past history in some degree justifies the charge; perhaps we have unduly favoured the two great masterpieces that were written for our country; in any case the tradition obtains, and St Ludmila may stand as the most salient example of its effect. The opening chorus is characteristic enough; the rest is all dominated by the influence of Handel and Mendelssohn; a labour that is lost by conformity with an alien method, a gift that is marred by the very means taken to render it acceptable.

But during all these years, the best record of Dvorak's genius is to be found in his instrumental compositions. Even the Spectre's Bride is not of more account than the Symphony in D minor, the Symphony in G, and the array of chamber-works that reach their climax with the famous Pianoforte Quintett. To these may be added the trifles of a lighter mood--waltzes, mazurkas, dainty little sketches for the pianoforte--all too slight to establish a reputation, but all beautiful enough for its adornment. At the same time he was gaining strength and experience as a song-writer. The Zigeunerlieder had already marked a new stage in his lyric method; they were now followed by three volumes of equal charm and of a style even more fully developed. Indeed, as we look through the pages of successful attainment, we are in no mind to cavil because one effort has missed its mark. a.s.suredly, there was no lack of power in the artist who could retrieve a single defeat with so many victories.

In 1889 he brought out his sixth opera, Jakobin--a sentimental comedy of a type that held the stage some half-century ago. The play is somewhat spoiled by a double intrigue, of which it may be said that the less prominent strand is the better woven. We grow rather weary of Count Bohus and his peasant-wife; driven from home by an unbending father, supplanted by a wicked cousin, restored by a reminiscence of early childhood; but we can all sympathise with the old Kapellmeister who arranges the castle pageants, and who, on the eve of his cantata, has to choose a son-in-law between the burgomaster of the town and its only tenor.

Later events are of too recent a memory to require any detailed description. In 1889, Dvorak was decorated by the Austrian Court; in 1890 he was admitted to the Honorary Doctorate at Cambridge; in the same year, Prague elected him Doctor of Philosophy, and appointed him Professor of Composition at the Conservatorium. Next autumn he again visited England, to conduct his Requiem at the Birmingham Festival, and shortly afterwards accepted the post of Musical Director at New York, where, with an occasional holiday in Bohemia, he remained until 1895.

During his residence in America he was much attracted by the sweetness and _navete_ of the negro melodies, and, though he never actually transferred any of them to his own pages, yet in more than one composition he shows clear traces of their influence. This is particularly the case with his symphony, 'From the New World' (Op. 95), so named because it was the first work of his written in the United States, and with the String Quartett in F major (Op. 96) and A flat major (Op. 105). In all these the most conspicuous themes are intimately affected by the 'Plantation Songs,' and it is interesting to note with what skill Dvorak has absorbed their character into his own style and method.

Among other notable works published at this period should be mentioned the set of 'Elegies' (Dumky) for Pianoforte trio, the three great concert overtures, 'In der Natur,' 'Carnaval,' and 'Otello,' a quintett in E flat minor, and a collection of 'Bible Songs,' the words of which are mainly taken from the Psalms. His last Transatlantic composition was a cantata, 'The American Flag,' written for the Chicago Exhibition of 1895. Shortly afterwards, influenced, it would seem, by sheer nostalgia, he resigned his appointment and returned to Bohemia, where he has since resided; partly in Prague and partly in his country house some thirty miles away. His restoration to his own country was marked by another outburst of composition, and in 1896 there appeared the Violoncello Concerto, the String Quartetts in A flat and G, and the three symphonic poems, 'Der Wa.s.sermann,' 'Die Mittagshexe,' and 'Das Goldene Spinnrad.'

In the same year was published the 'Te Deum,' which had been produced at the Birmingham Festival of 1894, but the work, in spite of some brilliant pa.s.sages, is not one of his greatest and needs here no more than the bare mention. After 1896 came an interval of silence; doubtless to be explained by the cares of office at the Prague Conservatorium: then in 1899 followed 'Die Waldtaube,' and 'Heldenlied,' and in 1901 the new opera of 'Roussalka.'

FOOTNOTES:

[45] This opus number is appended to the autograph score. The Quintett and both the symphonies are still unpublished.

[46] See a complete history of this work in the preface to the present libretto; see also Dr Stecker's article on Dvorak in the new 'Bohemian Encyclopaedia.' Both these authorities give 1871 as the date.

[47] See the biographical sketch of Dvorak, by H. E. Krehbiel, _Century_, Sept. 1892.

III

NATIONAL AND PERSONAL CHARACTERISTICS

The statical conditions which aid in the formation of character may roughly be cla.s.sified under three princ.i.p.al heads. First, there is the broad general basis of humanity, the common foundation of thought and feeling which enables us to sympathise, in some measure, with distant lands and remote ages. Secondly, there is the individual element, the particular blend of personal characteristics, the special idiosyncrasy that marks the difference between one man and his fellow. Third, and intermediate between the other two, is the debt that we owe to our nation the long inheritance that our forefathers have acc.u.mulated, that has been put to interest from the beginning of our race, and augmented by every occurrence in our history. And since art is essentially the outcome of character, it would seem to follow, that the artist should display in his work some trace of these three conditions, that his manner should be affected by causes which belong partly to mankind at large, partly to his own temper and circ.u.mstances, partly to the distinctive attributes of his people.

The first two of these have never been called in question. All criticism admits that art is at once human and personal, that its aim is to particularise, through the medium of the artist, some ideal or truth which is universal in its ultimate essence. But the admission of the national element has been so strenuously attacked, that a few words may perhaps be offered in its defence; and there could be no more fitting occasion than the study of a composer whose best work has been devoted to the service of a national movement. Hence, before beginning any detailed investigation of Dvorak's method, it will be advisable to consider, first, what is precisely implied in the statement that he was influenced by the character of his country, and secondly, whether this influence was a source of strength or of weakness?

Now the differences by which national temperaments are distinguished appear to be such palpable facts, that it is hardly worth while to a.s.sert their existence. In conversation, in travel, in all intercourse we are constantly being reminded that Europe is divided by frontier lines, drawn, no doubt, over the surface of a common earth, but for all that, setting up barriers which are not solely geographical. There is some intermixture of races, but it only bars the rule with a rare exception. There is a growing development of breadth and sympathy, but it only teaches us that the foreign standpoint is as good as our own, not that it is the same. The human mind, says Bacon, is a broken and distorted mirror which can but reflect a part of the truth, and a.s.suredly the part reflected by any individual mind is in great measure determined by national and social conditions.

Again the poet, though he be the spokesman of the whole world, is in a more intimate degree the spokesman of his own country. He has a particular set of traditions for background, he has a particular language for vehicle, and both of these give shape and colour to the abstract ideas which it is his function to express. Wordsworth, for example, is as purely English as Victor Hugo is French or Goethe German; each is the embodiment of a national spirit, each make a closer appeal to his compatriots than to the wisest and most liberal criticism across the border. And this does not depend upon the mere difficulty of translation, it is not a question of grammar and dictionary, rather it is the point of view which seems strange to a foreign reader, which requires some readjustment before the true focus can be obtained. Nor is the discrepancy less in the minuter points of rhythm and versification.

The a.s.sonances of Calderon are perfectly satisfying to a Spanish ear; to us they have simply the effect of a false rhyme. Alfred de Musset threw French literature into a ferment by ending an Alexandrine with the words 'tu es;' we pa.s.s over the line without noting anything unusual in its cadence. In a word, apart from Heine, we shall hardly find an instance of great poetry which is not saturated with a national atmosphere, and even Heine is an exception easily explained, and more easily overstated.