Page:Antonín Dvořák by J. E. Vojan (1941).pdf/9

 In 1877, when Dvořák applied for the third time for this state stipend, he enclosed his “Moravian Duets”, delightful little compositions for two sopranos, one of the most characteristic and most poetic works he ever wrote. These 15 duets composed on the words of Moravian folk songs are of an irresistible charm, and no wonder that the great composer Johannes Brahms, one of the jury deciding the stipends, was so fascinated by them that he recommended them to his publisher Simrock in Berlin for publication. Simrock published them in 1878, but simultaneously asked Dvořák to write for him some piano compositions after the manner of Brahms’ “Hungarian Dances.” On March 18, 1878, Dvořák began to write his “Slavonic Dances” without any presentiment that they would mean his world fame. The last of these eight compositions was finished on May 7. Simrock published them at once, and “Slavonic Dances” took the public by storm. These pianoforte duets, full of glittering melody and ravishing rhythm, enraptured Germany and England and in orchestral form found their way into the concert halls of all countries. Theodore Thomas brought them forward in New York in the winter of 1879–1880. Dvořák’s name became known to the entire musical world.

Dvořák was the first of modern Czech composers who became famous abroad. One of the reasons for this success of Dvořák lies in the general situation of European music at the end of the 19th century. Europe was becoming tired of the crushing pathos of Wagner’s music. In France the reaction was led by Debussy, while Germany and England hailed Dvořák who combined the seriousness of his artistic aims with a spontaneous simplicity in music, and who therefore was appreciated as a fresh and sound relief from one-sided Wagnerism. Dvořák was not opposed to Wagner, he was simply different. He formed a welcome complement to the rest of the music of those days, supplying a need unconsciously felt by the public.

Dvořák was a real man of the people, his music has all the vigor and directness of folk-music. Further he had a passionate and lively temperament which had something elemental in its dash. It was the temperament of