Dvorak occasionally said he simply wished to convey the elemental feelings ordinary people for their native art and resented his musical project being used to serve politics: "But what have we two to do with politics? Let us be glad that we are privileged to serve our beautiful art alone" (Hollander 317).
Dvorak vacillated between the importance of politics in the context of art. At the time of the composition of Symphony No.5 in F Major, Op.76. "the composer was faced at that time with the tempting prospect of writing German operas for Dresden and Vienna -- offers that caused him serious misgivings, because if he responded he feared he would be betraying the Czech national cause" (Clapham 1961, p.105). But eventually he returned to the nationalist source of his original inspiration: "The main theme of the symphony was inspired by witnessing the arrival in Prague of an express train from Budapest" (Clapham 1961, p.107).
While it might be argued that Dvorak was presenting his somewhat sentimentalized version of the common people in his compositions, it should be stressed that at very least he believed that he was presenting an 'authentic' portrait of Czech ordinary life, that would still be recognizable to the people who produced the tunes. He composed for popular enjoyment as well as to educate his listeners about their heritage. Dvorak also said that he was looking for inspiration everywhere: "An American reporter once told me that the most valuable talent a journalist could possess was a 'nose for news'. Just so the musician must prick his ear for music. Nothing must be too low or too insignificant for the musician" said Dvorak (Clapham 1966, p.863).
However, the inspiration for Symphony No. 5, some say, was even more prosaic: "Symphony No. 5 owes its genesis to a fortuitous series of events in the composer's life. At age 32, his lady friend informed him that she was pregnant, and the two were hastily married; having poor financial prospects, Dvorak did what any penniless composer of today would do: he applied for a grant" (All Music Guide, 2009). The monetary rationale behind the Symphony is substantiated by its out-of-order numbering scheme, which was to confuse later chronicles of Dvorak's life: at the time, it was thought a higher number would sell more tickets to performances of the new work.
Works Cited
Clapham, John. "Dvorak and the American Indian." The Musical Times, 107. 1484 (Oct., 1966),
863-867. Stable URL: http://www.jstor.org/stable/953317 Accessed: November 28, 2009
Clapham, John. "Dvorak's Symphony: The Creative Process." Music & Letters, 42. 2
(Apr., 1961), 103-116. Stable URL: http://www.jstor.org/stable/731518
Accessed: November 28, 2009
Hollander, H. "Dvorak the Czech." Music & Letters, 22. 4 (Oct., 1941), 313-317. Stable URL:
http://www.jstor.org/stable/727708 Accessed: November 28, 2009
Sandow, G. "Classical vs. Popular." Art Journal. October 11, 2006. Accessed:
November 28, 2009
http://www.artsjournal.com/greg/2006/10/in_recent_episodes_ive_been.html
Symphony No. 5. All Music Guide. Symphony No. 5. November 28, 2009
http://www.answers.com/topic/symphony-no-5-in-f-major-b-54-op-76-first-published-as-no-3
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