The String Sextett in A, op. 48, which has already been mentioned, is one of the compositions whereby Dvořák’s name was introduced into England. “This sextett,” says Mr. Joseph Bennett, who was one of the first to recognise and urge the claims of this new voice, “is a good example of the new composer. Its plan and method, according to the late J.W. Davison, are altogether original; but this statement, while perfectly true, does not represent its full claim to the rarest of musical qualities. We find originality in the character of its themes, especially in those of the second movement (elegy), the third (furiant), and the fourth, which is an air (varied) of the broadest national type, and so puzzling in key that Mr. Davison is fain to describe it as ‘in more respects than one calculated to perplex the ear as to its absolute tonality though virtually in A major.’ Not less original than the themes are, in many cases, their harmonic treatment, while nowhere is the higher mission of music neglected, in virtue of which it appeals to an inner sense at the same time that it confers physical and intellectual gratification. The elaboration of the principal movements forms another striking feature in the work.... Some of the details confer upon it an exquisite piquancy and grace; and a first hearing of the entire composition involves a series of surprises, so unexpected and new are the abounding touches of the master’s hand. Clearly we must know more of Dvořák, and that soon.” These words were written sympathetically and with prophetic insight in the year 1880, and since then we have heard The Stabat Mater, The Requiem, The Spectre’s Bride, the Orchestral Symphonies, and many other works, all of which have strongly confirmed the high hopes here foreshadowed.
Other Chamber Music
In addition to what has been mentioned, the list of Dvořák’s chamber music embraces three String Quintetts, a Serenade for wind and strings, op. 44, a Trio for two violins and viola, op. 74, a Sonata for piano and violin, op. 57, and a Quintett for piano and strings, op. 81, in A major. The last-named consists of four movements, viz., an allegro, a dumka, a furiant, and a finale in rondo form. The work is full of vitality, and rich in those qualities which appeal alike to intellect and heart.
That Dvořák is occasionally prodigal of his musical means and lacking in restraint is no doubt to a certain extent true, but, in the words of Mr. W.H. Hadow, “for all this he is a true genius, true in thought, fertile in imagination, warm and sympathetic in temper of mind. He has borne his part in a national cause, and has thereby won for himself a triumph that will endure. He has enriched his people, and in doing so has augmented the treasury of the whole world.”
CHAPTER VIII.
CHAMBER MUSIC OF THE RUSSIAN COMPOSERS.
Russian chamber music — Glinka — Quartett by Ippolitoff-Ivanoff — Quartett by Gretchaninoff — Mozart on melody — Russian schools of musical thought — Belaieff — String Quartett on name Belaieff — Arensky — Trio in D minor: Arensky — Sokoloff — Tanyeëff — Kopyloff — Tschaïkovsky.
Russian Chamber Music
A comparatively unexplored field presents itself in the chamber music by Russian composers. Ippolitoff-Ivanoff, Kopyloff, Sokoloff, Gretchaninoff, these are a few of the almost unknown names of this school. No doubt certain chamber works by Tschaïkovsky, Arensky, and one or two others are a little known in England, but those of the composers named hardly at all. Glinka, César Cui, Rimsky-Korsakoff, Liadoff, Glazounoff, and Tanyeëff are also composers whose chamber music is deserving of serious attention, for recent musical history contains nothing more interesting than the progress of Russian music.
Glinka