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 teristic beauty. There are for instance, the pentatonic in the major line, the soft tone with the diminished seventh and with the omitted sixth, the frequent prolongations or reversion to a certain note, rhythmical accents and syncopations. This was merely an appropriate expression of the essence of new unusual impressions with which his music was filled. For the same reason, despite the exotic touch of some of his themes and moods, the music in all his American works carries the mark of his own creative personality and is always Czech. We must keep this in mind as we consider Dvořák’s further American compositions.

In Spillville, Ia., Dvořák wrote two splendid chamber music works, String Quartet in F Major, opus 96, and String Quintet in E Flat Major, opus 97, with two violas. The slow movement of both compositions, the ardent melodious Lento in the Quartet, and the serious, emotional variations in the Quintet, filled with meditations, are new pearls of song in Dvořák’s chamber music. Both were played on January 12, 1894, by the Kneisel String Quartet in Carnegie Hall, New York (Fr. Kneisel, O. Roth, L. Svecenski and Al. Schroeder).

The New World Symphony has been recorded many times. We mention only two recordings: Czech Filharmonic Orchestra, Prague, George Szell conducting (Victor album M-469) and All American Youth Orchestra, Leopold Stokowski conducting, Columbia Album 416. “American” Quartet in F Major: Budapest String Quartet (Victor Album M-681) and Roth String Quartet (Columbia Set M-369).

The Victor commentator said a few years ago: “The New World Symphony is a composition that is musically rich, highly original, completely sincere, and if it is not America’s tribute to Music, is surely Music’s most beautiful tribute to America.” The Columbia commentator wrote recently: “The New World Symphony remains one of the best loved and most played of American favorites, and its clinging melodies have found their way to a wider audience through adaptions and arrangements for almost every solo instrument and voice. Few major symphonic works have so completely endeared themselves to American audiences as has this remarkable tone