Copyright by Merton Robert Aborn 1965 · THE .: . . UENCE ON AMERICAN MUSICAL CULTURE OF DVORAK'S SOJOURN IN AMERICA ) c:: ~\ BY MERTON ROBERT ABORN ~ 'Dissertation submitted to the faculty of the Graduate "School in partial fulfillment of the requirements for the degree Poctor of Philosophy in the School of Music Indiana University June, 1965 Accepted by the Faculty of the Graduate School, Indiana University, in Partial Fulfillment of the Require- ments for the Degree Doctor OfPhil:!~. • " Director of the DissertatiO~<2~ ~~ Chairman of the Advisory COnmlitteel/;:f: ... 62 &' ):l;c;k';,... ~e~ . (~ TABLE OF CONTENTS ACKNOWLEDGMENTS • • • • • • • • • • • • • • • • • • • Chapter I. INTRODUCTION . . . . . . . . ... . . . . . . II. III. IV~ The Purpose of the Study The Scope of the Dissertation Need for the Study Related Literature Platt of Procedure for the Collection of Data Plan of Procedure for the Treatment of Data BACKGROUND • • • • • • • • • • • • • • • • • The Evolution of Czech Music Dvorak, Prior to the American Sojourn,. with Particular Regard to "Nationalism" Summary and · Conclusions v/ THE NATIONAL CONSERVATORY PRIOR TO DVORAK: THE PERIOD FROM 1885-91 • • • • • • • • • • Introduction The Cdncept of a National Conservatory The National Conservatory and the , American Opera Company The Conservatory's Students, Curriculum, and Faculty The Struggle .for National Recognition Summary and Conclusions v I DVORAK AND AMERICA . . ... . . . . . . ... . Introduction . The Events Leading to Dvot-ak's Being Chosen as Director of the National Conservatory The Contracts Detailing His Duties as Director, Teacher, and Conductor Summary and Conclusions iii Page v 1 16 52 81 ChB:pte;o , V. V I DVORAK IN AMERICA • • • • • • • • • • • • • • Amer~ca Prepares for Dvor~k's Arrival Dvorak's First Impressions Dvorak's Methods of Teaching at Both the Prague and National Conservatories Dvorak's Conducting Activities , Administrative Duties Other Conservatory Changes Manifested During Dvorak's Tenure General Considerations Regarding Dvorak and the Conservatory Why Dvorak Would Not Return to America After 1895 Summary and Conclusions VI.' NATIONALISM IN AMERICA • • . . . . . • • • • • The Problems Inherent in the Terms "Nationalism" and "Folk Music" Dvofak's Timely Arrival in America Negro Melodies as the Basis for an American School of Music Further Events and Discourses Relative to Dvorak and the Growth of American Music The Importance of Dvorak's Ideas for Nationalism in America Summary and Conclusions VII. SUMMARY AND CONCLUSIONS • • • • • • • • • • • APPENDIX A • • • • • • • • . . . • • • • • • . . . APPENDIX 'B • • • • • • • • • • • • • . . • • • • • • • BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • iv Page 108 177 234 242 283 319 ACKNOWLEDGMENT The writer wishes to express his gratitude to Dr. Thurber H. Madison and Dr. Walter Kaufmann for their guidance, help, and encouragement; to Dr. Paul Nettl for his kind advice; to Dr. John Clapham who prepared the bulk of the European research; and to Dr. Ralph T. Daniel for his helpful suggestions. Others who have been of immeasurable aid include Mr. & Mrs. H. K. Forell, ~he late Honorable William R. Bayes, and Mr. William H. Crawford--all of whom expedited the ,locating of ma~erials in the United States ' and have kindly granted permission to reproduce the Thurber documents. To Mrs. Julie Dvorakova (representative of Dvorak's heirs), 'Dr. Karel Mikysa (Director of the Museum Antonina Dvoraka), and Dr. Jaroslav Vanicky (Director of the Music Department, Narodn! Museum V Praze) for their help and kind permission , to reproduce the Dvorak documents. The writer .is grateful also to the many others who have .given their assistance, particularly to Mrs. ,Dena Epstein, Miss ·Janet Howard, Mrs. John Parkhurst, and Mr. Warren Stevens. Finally, a special note of praise to my wife for the typing and ,for her general resourcefulnes s • M.R.A. v CHAPTER I INTRODUCTION The Purpose of the Study The purpose of the study was to determine the extent of Dvorak's' influence on American musical thinking during his stay in America from 1892-95 • . The Scope of the Dissertation The investigation largely concerns itself with Dvorak's . affiliation with the National Conservatory of Music of America, tracing his duties as director, teacher and conductor. Although the study·· refers to Dvorak's American compositions primarily through reviews written during and after his stay, an exhaustive study was not made of America's influence on the composer's compositions. The fact that Dvorak had a binding contract with the ·.Conservatory for the entire period of his presence in this country necessitated an examination of the Conservatory's history to determine the changes that were manifested during and after his tenure. Therefore, a detailed account was also rendered of the Conservatory's structure in terms of curriculum changes, musical organizations, faculty changes, and ~o forth throughout its entire history. 1 2 Need for the Study the impetus for the study was the paucity of previous literature regarding Dvorak's activities in the United States. Although there have been discourses on th~ subject, no pre vious attempt has been made to discover and collect into one source important documents hitherto neglected and relevant to , " , Dvorak's stay in America. Also noteworthy is the absence of American scholarly writing on Dvorak's visit to this country. Most of the previous writings have come from countries other than ,t 'he United States. This can be accounted for, along with the phenomenon of American scholarly neglect, by the obscurity of documentary evidence in the United States. Thus, for example, one of the most important sources relevant v, to Dvorak's tenure, namely the contracts which tell of his duties at the National Conservatory, have never before been used ~s supporting ev~dence in a study. The contracts had been stored away in private files for t he past fifty years or more and were uncovered by the investigator at the end of the summer of 1963. The absence of these documents--there were two: 1892-1894 and l894-1896--woul d of necessity discourage , any rigorous approach to the subject. The demise of the Conservatory ftself has also effected the tacit acceptance that the United States lacks major source material. Since Dvorak was connected solely with this institution in regard to American matters, it would follow that material pertaining to the Conservafory ~ould be highly relevant. The scrapbooks of Mrs. Jeannette Thurber, fo~der of the Conservatory, are in the New York " 3 Public Library; however, these documents pertain essentially to the years 1885-1892, the pre-Dvorak era. In regard to the school's subsequent history, including the crucial Dvorak period, documents have been at a premium. Since Mrs. Thurber had failed' to supplement her scrapbooks with further material, an assumption was made that the papers had remained in a pri vate collection. Therefore, the bulk of previous European research was accomplished without the aid of these valuable documents which, after so many years, were thought to have been either lost or destroyed. The missing documents may account for the encyclopedia~ giving only a bare sketch of the Conservatory's history, with no mention at all of the institution's final outcome. Understandably then, the responsibility for any extensive Dvo~ak research rested primarily with the European scholar, who at least had readily available access to such papers found in Prague at three principal places: The Museum Antonina Dvoraka, the Narodni Museum and papers in possession , 'of Mrs. Julie Dvorakova (Dvorak's daughter-in-law). By ignoring the inexplicable absence of relevant material which was to be located in places other than Prague, the scholar was tacitly omitting an important area of research. It should be noted, therefore, that the major problem and perhaps main contribution of this study was uncovering and piecing togethe~ the diffuse documentary evidence which, it is hoped, will be useful in future investigations on either the "subject of Dvofak or the National Conservatory. Related Literature Information regarding both Dvofak and the National Conservatory·was I gained primarily through the study of original documents, such as contracts, letters of corres pondence, catalogs, pamphlets, newspaper articles,and periodicals. Several of the above items are unpublished, such as the two contracts which Dvorak signed in connection 4 with the Conservatory. V / These two documents spell out Dvorak's duties as director, teache~ and conductor. Other unpublished data include· letters (primarily the Dvo·rak-Thurber corres pondence), catalogs showing curriculum changes, and pamphlets describing such organizations as the Conservatory's orchestra. An important book, · recently published (1960), is f v / Antonl.n Dvorak: Themat i c Cata logue by Jarmil Burghauser. It· is ·divided into three sections: (1) "Thematic Catalogue" which is an exhaustive treatment of each Dvo~ak composition including informa~ion pertaini ng to matters such as date of publication (works are chronologicall y arranged), publisher, particulars of the manuscript, and source r eferences. (2) "Bibliography of the Literature on A. Dvorak" co-authored by Jarmil Burghauser, Dr. John Clapham and Dr. Wilhelm pfannkuch is broken down into two parts: (a) "Bibliography of Books and Portions of Books" and (b) "Bibliography of Articles in Periodicals." Both parts of this second section are important as a starting point in matters related to Dvo~ak research. The dissertation was well into the research stage when· this book· was eventually employed as a check to determine important reference material which had possibly been overlooked by the 5 . investlgator. Most of the references of which the investigator took ,note were those written in English, supplemented by a few sources 1n German and French; a preponderance of the refer ences were in Czech. Since the bulk of the dissertation is , concerned with the dormant state of obscure evidence recently located in the 'United States " Czech sources have largely been omitted. (3) The third section, "Survey of the Life of Antonin Dvorak," is based, according to Burghauser, primarily v ' V / on Otakar Sourek's four-volume Dvorak biography, "supplemented and crossed checked by other accessible sources, such as per sonal correspondence, Dvorak's manuscripts, periodical reports and other Dvofak literature, as well as Sourek's personal estate." " (Page 462.) This section was also used as a further' source in noting 'additional reference materials pertaining to the composer's American period. v Otakar Sourek, the Czech critic and musicologist, was Dvorak's leading biographer. His four-volume Dvorak biography (1916, 1917, 1928), written in Czech, was one of the most vital sources for further studies by himself and others. The v following 'paragraphs will consider two of Sourek's subsequent books which directly related to the investigation: , Anton!n Dvorak His Life and Works, 1954, treats the "main events" in the composer's life and describes Dvorak's complete musical output "in its chief aspects." The preface of the book is highly valuable, affording an istorical per spective into the evolution of Czech music. There is 'a se-lected bibliography of books and periodicals. 6 A priceless collection of documents is Antonin Dvorak; Letters .and Re~iniscences, 1954. Included are letters by Dvorak's contemporaries or by himself, and excerpts from memoirs. The author acknowledges that many documents "not less characteri~tic and interesting" have been excluded from this book; v however, Sourek cont,inues: Even within this narrower selection it has been possible for me to 'present the mate'rial in such a way as to bring out with plasticity the chief events in Dvorak's life and indicate the continuity of his artistic develop ment, while at the · same time illuminating sufficiently clearly the most characteristic features of his creative personality. [Page 12.] More than twenty entries concerning Dvorak in America are of particular. interest. Many of these entries were taken from "Reminiscences" of Joseph Kovafik, who was Dvorak's companion on the crossing in 1892 from Europe to America and remained with him during his whole sojourn in America. '../ In addition to the above mentioned books by Sourek, the investigator has also utilized this author's The Or~hestral ~ v ~ 1/ / Works of Anton~n Dvorak and The Chamber Music of Anton~n Dvorak, both publish.ed in '1954. The two books are most helpful, especially regarding the theoretical analysis given to each . composition. Another of the more important biographies is in ~ Master Musicians series--Dvo~ak by Alec Robertson, 1945. Items of interest;: are f:.';, vatory's history department practically from the Conservatory's inception, ~as well qualified to impart insights and obser vations .Of particular interest are his conunents on Dvorak's pupils. A Short History of American Music by John Tasker Howard and Ge.or ge Kent B~llows, 1957. The authors delve into the roots .of American nationalistic music, commenting that Louis Gottschalk (1829-1869) was the first to experiment with this field of compo·sition. An interesting comparison is drawn between Dvorak and MacDowell in respect to their views on nationalism. ·America's Music by Gilbert Chase, 1955, is an exam . ination of Dvorak's impact on American music,stat~ng that none 8 of his pupils "proved to be a creative artist of exceptional stature." (Page 387.) Dvorak's significance, according to Chase, does not primarily rest on his enthusiasm for American folk songs, his influence on a national school of American composers, nor his compositions inspired by experiences in the New World; Chase observed: "All these are important factors, but they are transcended by the overall liberating influence , symbolized by his visit in relation to this particular moment in the development of musical culture in the United States." (Page 39,2.) The "liberating influence" refers to Dvo'rak ~aving "paved the way" in counteracting the German influence. Of the numerous articles in periodicals, three in particular should be noted: (1) "The National Conservatory of Music of America," Harper's Weekly, 1890; (2) "Does It Pay to ,Study Music?" by James Creelman, The Illustrated American, 1894; (3) "Music in America" by Dvorak, Harper's New Monthly, 1895. The first two articles pertain to the Conservatory both before and during Dvorak's tenure. The third article is a long dis course by Dvorak on the position of music in America at that tim~, and his advice for the future course of music in this country. Although Dvof£k was frequently quoted in newspaper interviews (particularly in regard to folk music), this article \ ', was a unique instance of his views on what he considered to be America's neglect of the arts. Interest in Dvofak was considerably stimulated in 1941 by th~ one-hundredth anniversary of the composer's birth. The war, however, hindered the anticipated renaissance of much of , his music. Not until the dec~des of the fifties and sixties was this expectation realized. 9 An improvement has also been apparent as regards scholarly writing.. Of particular importance are the many articles by John Clapham who, since the 1950~, has given particular stress to the topic of folk music in relationship V I to Dvorak's art. A book by this author, on the subject of VI () Dvorak and England, will be published by Faber and Faber in 1965. Plan of Procedure for the Collection of Data or for Securing Reference Materials Procuring reference materials related either to the subject of Dvorak or the National Conservatory has involved many channel~ of approach. The most important documentation was that which bore a direct relationship to the Nation~l Conservatory. Since modern encyclopedias have treated the , history of this institution in a cursory manner, it was therefore assumed by the investigator that very little lit erature pertaining to the institution was available. This assumption was verified by the discovery that there are today few people who are at all familiar with anything related to the final years and eventual dissolution of the Conservatory. The paucity of knowledge, with regard to the ultimate outcome of the Conservatory's history, was indeed almost an enigma in itself. A school' which was once in great acclaim was now scarcely remembered. Since one of the primary purposes of this study was to uncover hitherto neglected documents which had lain in obscurity, there was the necessity of seeking out Bc'raps of information from innumerable persons and places. 10 Newspaper articles and periodicals from the period of the Conservatory's inception until the present were examined. Three key terms were used as a guide to selecting relevant information: (1) the National Conservatory of Music of Ameri,ca, (2) Jeannette .M. Thurber, and (3) Dvorak. These same terms were also employed in the search through the most appropriate museums, librarie~ and autograph establishments, primarily in New York City and Boston. The Library of Congress was · subjected to a similar investigation. Individuals who might possibly shed some light on any of the items were contacted by letter or telephone. The ultimate problem was to learn the final disposition of the Conservatory's files. Among the New York City people con tacted were librarians of the conservatories, the editor of the Czech'newspape~ and above all people who had any relation ship with the National Conservatory. This last group included , VI the family of Mrs. 'Thu~ber, the wife of Joseph Kovarl.k, and Maria Safonof~ whose father, Wassily, was at one time director of the Conservatory. Below is an extract from a letter which was character- istic of the form used in locating materials: I am particularly interested in Dvorak's activities in connection with the National Conservatory in New York. I would like, if possible, any information pertaining to the Conservatory during or after the period of Dvorak's directorship (1892-95), since I am trying to determine the extent to which Dvorak's influence was felt in music. This implies a tracing of the happenings, curriculum changes, his pupils and so forth pertaining to the Conser vatory. I am at a loss, as yet, on most of these matters and particularly when and why the institution ceased to exist. Mrs. Jeannette Thurber's scrapbooks in the New York Public Library have not netted much information. • • • 11 The above letter was written to four people: Mr. Francis S. Thurber, son of Mrs. Thurber; Miss Maria Safonoff; Miss Janet Howard, distant cousin of Mrs. Thurber's husband; and Mrs. H. K. ·Forell, granddaughter of Mrs. Thurber. Most ·of the names were learned primarily through the help of Mrs. Dena Epstein, who is the author of a forthcoming biogra phical sketch on Jeannette M. · Thurber which will appear in Notable American Women. Along with Mrs. Epstein, the auto graph establishment, Benjamin'~ in New York City was also an aid in determining the people who were important to the study. The letter eliciting the most favorable response was the one to Mrs. Forell of Huntingdon Valley, Pennsylvania. The other people insisted that they had no information to offer other than what had previously appeared in newspapers and periodicals; they were at a complete loss in regard to the final outcome of the Conservatory. There was a lapse of one year before direct contact was made with Mrs. Forel~ who . had not replied to the inquiry. The investigation had by this time reached an impasse • . A telephone call to Mrs. Forell was to be the opening wedge in the research, since Mrs. Forell was in possession of numerous Thurber papers; permission was granted to search through ·these documents. Among the more important items were . V / o,f I ~he first contract that Dvorak Signed and numerous Dvorak- Thurber letters. Mrs. Forell also consented to an interview, offering further insight and background information concerning Mrs. Thurber. The interview also resulted in discovering that 12 if there were any other papers related to the Conservatory, they would be found in the office of Mrs. Thurber's attorney~-Judge William Bayes. l This office, located in New Yor~, was indeed the location of most of the Conservatory's files. One other source was very vital to the study: the papers located in Prague., A letter of inquiry was sent to Dr. Jaroslav Vanicky, Director of the Music Department at the Narodni Museum-,in Prague. Dr. Vanicky microfilmed the materials at the Museum and then forwarded the letter of inquiry to Dr. Karel Mikysa, Director of the Antonl.n Dvo'f'ak Museum in Prague. Dr. Mikysa, writing directly to the investiga'tor, said that " ••• all material pertaining to Antonio Dvorak in relationship, to his stay in the U. S. A.- which is in posseSSion of Dvorak's family [Mrs. Julie Dvofakova]--will be prepared for you by Prof. Dr. John Clapham. ~ • • II Dr. Clapham, on the faculty of the University of Edinburgh, was most helpful throughout the entire study. His name came to the investigator's attention by his numerous Dvorak monographs. It was learned that Dr. Clapham was doing extensive, research on Dvo~ak in relationship to England. He was very enthusiastic upon learning that Dvo~ak's American period, was being ,investigated; thus, he offered to prepare the materials which were in Prague. With the accumulation of LJudge Bayes died November 28, 1964. He was eighty eight years old. these documents, the study accomplished one of its main objectives: to locate and collect the diffuse materials pertinent to Dvof~k's American sojourn. , Plan of Procedure for the Treatment bf Data 13 The ensuing chapters of the dissertation are treated as follows: Chapter II nBackground" This chapter provides background information in order to bring 'about a better Understanding of DvofAk's place in Czech history, and also' -to gain insight into his development as a composer who wrote in the spirit of folk music. Chapter III "The National Conservatory Prior to Dvofcik n The period from the Conservatory's incept'ion, 1885 t until the scholastic year 1891-92, is examined in order to ,show the stage of development which the Conservatory had V I reached prior to Dvorak's tenure. Chapter IV "Dvof~k and America" The events leading ~p to DvorAk's bei~g chosen to direct the Conservatory and the ensuing struggle tp arrive at a mutual agreement between the two signatories--~xs. Thurber and Dvofak--are -discussed in the chapter's first part. The second half is devoted to a detailed description and compar ison of the two contracts (1892-94 and 1894-96). Chapter V "Dvotak in American This chapter is divided into eight parts; the following are the structural divisions: (1) a discussion of America's anticipat~on of DvorAk's arrival; (2) Dvorak's 14 impression of America; (3) a description of his methods of teaching at both the Prague and National Conservatory, pri marily through his students' discourses; (4) his conducting activities, both in connection with the National Conservatory and with other groups while in America; (5) administrative duties as director and ad 'udicator; (6) the incr ased ' / enrollment of Negro students during Dvorak's tenure; (7) gen- eral considerations regarding Dvorak and the Conservatory, e~phasizing the salary problems and the con comitant dissat isfaction of Dvorak during his final two years 'in America; ) the reasons governing Dvofak's decision not to return to America after 1895. Chapter VI "Nationalism in American This chapter is divided into the following five divisions: (1) the problems i nherent in the terms "nationalism" and ' "folk music"; (2) Dvot-ak'-s timely arrival ~,in America (four-hundredth anniversary of the discovery of America); (3) Dvorak's discourses on Negro (and Red Indian) music as a basis for an American school of composition ; his American compositions (primarily the New World Symphony); (4) further events and discourses relative to Dvorak and the development of music in America; socio,logical and aesthetic implications of Dvo~ak's views; (5) the importance of his ideas for nationalism in America. Chapter VII "Sununary and Conclusions" Appendixes One of the primary purposes of the study was to uncover and collect into one source the diffuse documents pertinent to 15 Dvor~k"~ sojourn in America; therefore, this part of the dissertation was designed to be as comprehensive as possible. ) The doc~ents should be viewed as perhaps the study's main contribution, f~ctioning as a guide to the present investi gation as well as future discourses rela~ed either to Dvofak o,r the , Conservatory. Appendix A contains contracts, catalogs, notices and so forth; Appendix B contains letters, telegrams and other personal memorabilia. / CHAPTER II BACKGROUND The Evolution of Czech Music . A study of the history of East-Central Europe would reveal a group of nations almost always struggling for sur vival and independence. Conflicts--religious, political, and economic--were almost always recurring either within each of the countries, between these countries, or with powers out side this area which is bordered on the west by the Germans and on the eas't by the Russians. The present-day situation of the satellite countries mirrors the plight that this area has known for centuries. Bohemia has a recorded history of over one thousand years, during which time the nation experienced eras of greatness and might. l Her frontiers have , continually enlarged and contracted owing to ',the tenuous position of having Ger-' manic peoples for neighbors on the north-west, west and south; lAt the treaty conferences ending World War I, Ithe boundaries of the Czechs were fixed in accordance with the ancient boundaries of the crown of St. Vaclav. This meant that over three million Germans were now incorporated into this enlarged Bohemia. The territory in Poland known as Teschen was also given over on the grounds of its historically being of' economic significance. One other boundary was changed--the border of Hungary known as Slovakia, which had been part of Hungary for ten centuries. Henceforth, "Czechoslovakia" was the official name given to this entire combination of newly acquired territories. 16 17 ' of having ' Poles on the north-east; and of having Slovaks on the east (northern Hungary). These borders show clearly the 'reason 'for the nation's having had to grope continually with basic problems such as maintaining its national identity and freedom. The roots of Czech music lay among the peasants. The thirteenth century witnessed the first religious songs: "Lord ,Bestow Thy Grace upon Us" (Hospodine pomiluj my) and "Saint Wenceslas" (Svaty Vaclave). The epic Hussite hymns continued the tradition, with "the famous and traditional 'Ye Warriors of God' ('Kdoz jste Bozi bojovn!ci') as the leading one." 2 It is interesting to note that "Saint Wen ces1as" and "Ye Warriors of God" are among the themes in Dvo~ak's Hussite Overture (Husitsk£), Ope 67, 1883. One of the high points in Czech history dates from the fourteenth century, when a foreign monarch, Charles IV, had sincere regard for the country's internal growth. In l34~ Charles became Holy Roman Emperor, made Prague the center of the Austro-Hungarian empire (which he founded), and gave to Bohemia its greatest period of glory. During his rule (1347-1378) he cod ified the laws, strengthened the economy, and founded the University of Pragu~ which, was the only . , university in Central Europe; it had four faculties: medicine, art, and theology. Prague was now the equal of such university centers as were found in Paris and Oxford. 20takar Sourek, Anton!n Dvofak: His Life and Works (New York: Philosophical Library Inc., 1954), p. 5. 18 After the reign of Charles, the country began to encounter many problems under rulers who were not so altru istically inclined. Bohemia was soon plunged into religious dissensions' during the Hussite period in the early fifteenth century. Jan Huss (c. 1373-1415), a preacher who tried to stem the German influence and was executed, was one of the first men . to bring about an awareness in the Czech people of their own national identity. Although, as Paul Henry Lang observed, the Hussite movement "temporarily dampened" the Czechs' interest in music, it did result in the Bohemian Moravian Brethren--a sect which encouraged popular singing to such an extent that in 1519 the Germans themselves issued a translation of the sect's songbook. 3 The house of Habsburg was the ruling dynasty in Bohemia from the accession of Ferdinand I (1526) to World War I. Until the beginning of the seventeenth century, Bohemia managed to maintain a respectable position in European civilization. This changed, however, with the Battle of the White Mountain (1620) when the country tried to free herself from the Habsburg rule and suffered a disastrous defeat. Under Ferdinand II (1620-37) Bohemia experienced its worst religious intolerance; according to Robertson, those who refused lito be.come Catholics were to be forcibly persuaded . or banished, 'but--andthis • • • was of the greatest importance to the national music--the peasants were bound to the land and 3Pau1 Henry Lang, Music in Western Civilization (New York: W. W • .. Norton& Co., Inc., 1941), pp. 955-56. 19 were not allowed to emigrate~14 This decree was indeed fortu nate for the future of national music. The country people re tained and carried on their traditions of language and music, while offic'ially ' the nation had become very Catholic and Ger manic. The famous Battle of the White Mountain, which erupted at the beginning of ~he Thirty Years War (1618-1648), was an other cornerstone in the foundation of Czech nationalism. Dvof~k <' commemorated this struggle for freedom in his Hymnus: The Heirs of the vfuite Mountain (Z Basn~ Dedicove B{ l e Hory), a choral work. With the loss of independence and the suppression which ensued, Czech musical creativity was subdued. Ceremonial church music was the only musical form of expres,sion officially sanc tioned. From the seventeenth century to the nineteenth century, Bohemia had many "significant u5 church composers: Bohus1av CernohorskY (1684-1742), Jan Zach (1699-1773), Frantisek X. Brixi (1732-1771); also Czech emigres: Josef Mys1ivecek (1737-1781), An'tonin Rejcha (1770-1836), Jan 'Vac1av Stamic (1717-1761), Karel S't~mic (1746-18.31), Jan Antonin .Stamic (1754-1809), Jan Dusik (1760-1812), Vac1av Jan Tomasek (1774- 1850), and others culminating in Jan Hugo Vorisek (1791-1825). Bohus1av Cernohorsky (1684-1742), composer in the po1y- phonic style, wrote "outstanding" works which are thought to have been destroyed at his monastery in 1754. 6 Many Czech 4A1ec Robertson, Dvorak (London: J. M. Dent ~ Sons Ltd." 1945), p. 4. - 5Sourek, loc. cit. 6Eric B10m (ed.), Groves Dictionary of Music and Musicians (New York: St. Martin's, .1961), II, 140. 20 composers .were influenced by him, although it is conjectural to ascertain who among them were his pupils; they included: J. F. Seger (1716-1782), who wrote several organ works and was one of the greatest organists at that time;7 F. Tuma (1704-1774), whose . church-music compositions were heard by Haydn at the Vienna Cathegral;8 Jan Zach. (1699-1773), a prolific composer who was deeply influenced by Cernohorsky, and whose 'pre-elas-sical style of composition was "penetrated by the spirit of Czech folk music,,;9 he was perhaps "the only one 'to reflect something of Czech nationalism' in his music. ,,10 T,artini and Gluck were also purported to have . studied under Cernohorsky, but rGrovfls discovered only "unre liable evidence" to support this conclusion. ll Frantisek X. Brixi (1704-1774) was an organist and prolific composer who wrote over four hundred works--primarily sacred; he was influential in revising the music which was in use in the Bohemian churches. 12 Josef Myslivetek (1737-1781) emigrated to Italy and was known as nil divino Boemo" because the Italians could not pronounce his name. He wrote over thirty operas, many 7ascar Thompson & Nicolas Slonimsky (eds.~ The Inter national Cyclopedia of Music and Musicians (New York: Dodd,. Mead & Co., 1958), p. 1699. ' 8l.l2iS.., p. 1929. 9Blom; Ope cit., IX, 292-93. 10Robertson, OPe cit., pp. 6-7. 11Blom, Ope cit., II,. 140. 12~hompson, Ope cit., p. 241. symphonies, and so forth. Mozart knew him and appreciated his works. 13 21 Antonin Rejcha (1770-1836) was a composer, teacher, and musicologist who emigrated to Paris where he taught at the Paris Conservatory. He came in contact with Haydn and ' Beethoven, and was known for chamber music as well as theo retical works. 14 Jan V~clav Stamic (1717-1761) was the founder of the Mannheim school of composition, whose traditions were carried on by his sons Karel and Jan. Jan Ladis1av Dusik (1760-1812) was a celebrated pianist and composer who studied with C. P. E. Bach. Haydn, as well as Tomasek, greatly admired him for his piano virtu osity; however, in the realms of composition, there is little .to warrant any acclai~ primarily because of a "weakness in handling of ' form. n15 Robertson, though, . noted many passages included in tne large quantity of piano works that anticipated the music of Beethoven, Schumann, Brahms, Chopin, and Dvorak; the latter's "Fac me vere tecumf1ere" from the Stabat Mater was pointed out. 16 Vaclav Jan Tom~sek (1774-1850), pianist, composer, and teacher, was interested in the dramatic capabilities of ,music; he wrote many ballads and songs set to the texts of Schiller, Goethe, and old Czech texts. Alt.hough his published 13Blom, QQ • cit. , V, 1047-48. .. 14Blom, 012· cit. , VII, 106-07. lSB10m, Ope cit. , II, 827. l6Robertson, loc. cit. 22 works total over one hundred compositions in many media, he is considered to be a much lesser composer than he was teacher . and pianist. 17 Nevertheless, his two sets of Dithyrambs, Op • . 52 and 65, were of historical significance, having been ·the "direct forerunners" of short, poetical piano pieces of the romantic age, such as Schubert's Impromptus and Moments Musicaux. He is also credited with having written "an early specimen of program music--'Elegie auf eine Rose.'''lB Jan Hugo Vorisek (1791-1825) represented a transi tional stage .between Beethoven and Schubert by his Impromptus, Ope 7, which were no doubt influenced by his teacher's . (TomaSek's) Dithyrambs. Much of Vofisek's music is in manu- script. 19 V \i Jan Frantisek Skroup (1801-1862) was one of the few composers prior to Smetana and Dvorak who were vaguely aware of the potential of an indigenous Czech music--the prospects of which, at the start of the nineteenth century, "seemed . very poor .... 20 v Skroup, conductor of the State Theater Opera House, received.a commission to write a completely Czech opera. The opera, The Tinker ( Draten:Lk), "was produced with ~normous' success. in 1826 • .,21 The style is opera-comigue with a Libretto by Chmelensky. Although the work is·. acclaimed for having been the first native Czech opera, the folk element 17Robertson, Ope cit., II, 827. 18Bl om, Ope cit., VIII, 495. 19B1om, Ope cit., IX, 74. 20 obertson, Ope cit., p. 8. 21I,bid., p. 7. 23 was employed only superficially.22 The opera survived and was the precursor, forty years later, of Smetana's Branden burgers in Bohemia. v If Skroup failed to provide a folk-element emphasis in his opera, he did, however, probe the possibilities of this channel of approach by his i cidental music to Fidlovacka, ,1834. This work contains the song "Where is My Home?" ("Kde domov Muj?U) ,and was adopted in 1918 as the first part of the Czech national anthem. He also edited, with Chmelensky's assistance, a col~ection of Czech songs with piano accompaniment. v ,Thus, with the possible exception of Skroup, no Czech ,' composer was able to dispel the Germanic 'influence which had, by ,the mid-nineteenth century, exerted pressure on the country for over three hundred years. Smetana's appearance, with his great ' interest in nationalism, was a development which had its ' roots towards the end of the eighteenth century • . T~eawakening of the Czech's cultural heritage started with two literary scholars--Josef Dobrovsky and Josef Jungm~--who, at the end of the eighteenth century, laid the foundations for the development of modern Czech literature: Both started the outstanding Czech contribution to Slavic studies which was to be typical of the develop ment of Czech culture in the following century and [was] to influence the political outlook of the Czech people; • • • national life had been endangered only by German influence and ••• never suffered from any other Slavs. 23 Other Czech literary men developed during the first half of the nineteenth century. Jan Kollcir (poet) and 22Ibid. 230scar Halecki, Borderlands of Western Civilization (New York:' The Ronald Press Co., 1952), p. 283. 24 P. J. safarik (historian) continued the Czech cultural renais- sance which finally culminated in the writings of one of the country's greatest nistorians--Frantisek PalackY. Palacky wrote the History of ohemia (c. l830)--an account of the Czechs covering only the period of independence before Habs burg rule. The book played a vital role in the revival of a national tradition. 24 The situation in Bohemia, as it was in most of Central Europe during the first half of the nineteenth century, was indeed -precarious. Bohemia was part of the Austrian empire and at the same time a member of the ill-defined, loose Confed eration of German States known as -"Der Bund," which was ~ reaction after -the Napoleonic Wars. Czech frustration was clearly evident: individual expression was limited; there was national feeling of Czechs against Germans; the leading class was composed of an imported nobility who would not mix with the masses, and who ultimately provoked a strongly demo cratic movement coming from the peasants and the middle class in the revolutionary period around 1848. The result of the 1848 Revolution, having been unsuc cessful, underscored the importance and far-reaching signifi cance which the small group of Slovac intellectuals--Koll~r, v v, - ,. Safar~k, Polacky, and others--had upon the nation. The com- bination of the literary and political awakening finally began to spillover into the arts as well. Robertson, in his chapter on "The Historical Background,nreferred to Anton!n 24l.J2.i..Q.., p. 307. 25 Matej'.cek's chapter on painting in Mat~.Jcek's book Mode and Contemporary Czech Art . MateJcek stated: . "By 1848~ even if it witnessed political collapse, the. national~st idea w in uli wing th ough ut every domain of intellectual life. In short, the stage was set for the appearance of a powerful personality, firmly ·resolved to dispel alr the doubts and hesitations that ; hampered Czech art, revealing new sources of poetic ' inspiration, bringing art once more into touch with the race and nation, and furnishin~ to those who came after him a potent example of artistl.c courage and sincerity. 1125 Robertson suggested that this quotation, which describes the great Czech painter Joseph Manes, might also be a portrayal of Smetana, who, in 1848, had taken an active part in the .country's futile struggle for freedom. Despite the Czech defeats, there began a gradual reform under Emperor Francis Joseph I,who granted some con stitutional rights and social progress. The "October Diploma" of 1860 was an effort to gain equal rights for all cultures; two years later, the Interim Theater was opened in Prague for the purpose of producing plays and operas in Czech. Thus, official recognition was given to a language which had been submerged since 1620. The country was to wait until after World War I before attaining complete political liberty; but . ~usic, a~ well as the other arts, was now permitted to flourish unhampere~ by any official restrictions. The man appointed to the post of musical director of the Interim Theater was Bedrich Smetana (1824-1884), the "father of Czech music," according to Franti"~ek Bartos (1837- 1906), a MOravian musicologist. Bartos explained that although 25Robertson, Ope cit., p. 8. 26 ther~ were outstanding Czechs before Smetana, the latter "was the first to' give Czech music its characteristic stamp, its own distinctive expression, and to bring to life its typical rhythm and pulsation. n26 Much .of Smetana's national spirit was kindled during the 1848 revolutionary period when he "took an active part II in the Whitsun revolt, and 'also "responded as a composer to the revolutionary spirit"27 by writing the Solemn Overture, two marches, and the "Song of Freedom." He also appeared to possess a very sensitive nature · in Czech musical matters as witnessed in an account written byVAclav Novotny (1849-1922), Czech composer and author. Novotny related "how the idea of creating an independent Czech musi,cal style began to mature in him [Smetana] for the first time. tl28 The date was approximately September, 1857, and " the place was Weimar, where Smetana was a guest at the home ' of Liszt. Smetana, Liszt, and Herbeck (conductor and composer in Vienna) entered .upon a discussion of the musical contributions which had, up until that time, been made by the Czech people. Herbeck fiercely denounced the Czechs, asserting that they were a nation of "'mere. performing musi- cians • • • [who] have not a single composition to show which . 1 C h . '" ~s so sure y zec. • • • Novotny agreed that this comment contained, "unhappily, more than a grain of truth," and. noted: It is generally known that our country has always supplied all military bands and theater orchestras with musicians. •. • • They greatly predominated over the small 26Frantisek Bartos, Bedrich Smetana: Letters and Reminiscences, trans. Daphne Rusbridge (Prague: Artia, 1955), p. 7. . 27 Ibid •. , p. 28. 28Ibid., pp. 45-46. 27 number of composers ••• who, born in t he Czech lands, strayed abroad and ther e . ". • became absolutely estranged from t~e Czech spirit. 29 Smetana realized this "very well," but yet was compelled to take" issue with Herbeck by recalling the names of Myslivecek, Toma"sek, and Mozart, whose name was in reference to the cold reception he had received everywhere except in Prague, and who was reported to have exclaimed, "The Bohemians understand 'me." Smetana was rebuffed, and vowed "that he would dedicate his entire life to his nation, to the tireless service of his country's art."30 Dvorak, Prior to the American So journ , with Particul ar Regard to National ism Anton!n Dvorak (1841-1904) was " born in Nelahozeves, a small Czech village situated about thirty kilometers north of Prague. Being the eldest of eight children born to Fran tisek and" Anna Dvorak, he" was expected to follow in his father's butcher trade. He was about ten years old when he first experimented with the violin, without the aid of a teacher and without previous knowledge of music. A custom in the small villages of Bohemia was to send children, at the age of eleven or twelve, to a German-speaking town 9r village to learn the German language. Unlike Smetana, v/ whose first language was German, Dvorak was sent to a little town (Zlonice), and there, besides learning the language, he apprenticed for two years (1854-1856) as a butcher. He also pursued a gro~ing interest in music by having formal lessons 29I12i4., pp. 45-46". 28 under 'a capable teacher and organist, Anton£n Liehmann (1808- 1897), who was mainly responsible for Dvof~k's decision"to forego the butcher trade and devote himself entirely to the profession of music. 3 l Liehmann taught Dvorak piano, organ, , theory, and gave him playing experience as a church organist "and as a member of his concert band. "He •.• induced Dvofak's parents not to force their son to become a butcher, but to send him instead to study at, the Organ School in Prague. "32 His years (1857-59) at the Organ School were seemingly unins~iring in regard to composition, but nevertheless served him well as a thorough, theoretical training ground, and pro vided him with a profound knowledge of the works of the classics. He rarely spoke of this school in his later years and minimized the importance of his formal training, saying: fI'I studied with God, with the birds, the rivers, myself.,n33 Dr. Josef Zubaty, who was Dvorak's first biographer (1881), said in his "Recollections of Anton£n DvorAk" that Dvorak gained his learning as a composer outside of school, and, in regard, ' to the Organ School, it "served him more as a means towards acquiring the formal training for the title of musi- cian •• • • 1134 310takar Sourek, Anton{n Dvofak: Letters and Reminiscences, trans. R. F. Samsour (Prague: Artia, 1954), p. 23. ,~~Sourek, Life ~ Works, pp. 9-10. 33 u High Lights in the Life of Dvorak," The Etude, (Ma~ch, 1918), p. 161. 34~ourek, Letters, p. 25: " During these years, he became acquainted with the music of such romantics as Wagner, Schumann, Liszt, and Berli,?z, by participating:in the concert life in Prague, and by being .actively engaged as a violist in two orchestras: 29 the Saint Cecilia Society and the Prague Band of In in the review, which simply declared that it "was an effective arrangement. n66 The issue of its origin (folk song basis) was completely neglected, therefore implying that this particular experiment with a definitely known folk song was not received with any appreciable success. Other matters were perhaps of more significance; most important was the fact that the entire program was unique in respect that "each soloist, ~'lith one exception, belonged to the colored race. 1I Obviously, the discourses and compositions of Dvofak during that period strongly influenced Mrs. Thurber in her decision to present such a program. The reviewer, though, gave Mrs. ThurbEr practically all the credit for having provided additional opportunities to the colored race: 63Jarmil Burghauser, Antonin Dvor~k: Thematic Catalogue (Prague: Artia, 1960), p. 377. 64Ibid. ' 65"Dvorak Leads for the Fund," Ope cit., p. 10. 66.Il2iS.. 212 She threw open the doors of her excellently-equipped, musical, educational establishment to pupils of ability, no matter what their race, color or creed. Emancipation,. in her idea had not gone far enough. Bodies had been liberated, but the gate.s of the art'istic world were still locked. 07 Full credit was given to the Conservatory for having succeeded, as witnessed by this program, in giving the Negro the oppor tunity of ex.ploring "music's unlimited resources of enjoy ment"; ' for that reason alone, the reviewer added, the Con servatory was accomplishing "a noble work." It should be noted, therefore, that in assaying the Conservatory's history, the fact regarding the Conservatory's educational policy to wards the Negro race was one of its most significant accom~ plishments; and, as was shown in this chapter and in the previous one, Dvorak shared the credit for furthering this policy. Another work presented on the January 23 program was a composition by Maurice Arn~ld, a Negro pupil of Dvofak. The work, American Plantation Dances, was conducted by Arnold, who apparently was the one pupil at that time to follow Dvor~k's suggestion of working with folk materials. Again, though, the composition had a limited appeal despite the fact 'that it was written "upon the lines laid down by Dr. Dvo~£k. ,,68 The spirit of the Negro melodies was conveyed by Arnold "with some degree of success," according to the review. The compo sition as a whole, the reviewer went on to suggest, would be very adaptable to patriotic gatherings. Everyone in ~he choir "marked time with his head. " Implied, therefore, was • • • 213 the fact that the piece was not to be taken too seriously; that is, it was almost in a similar vein with popular music. In fact, Arnold's composition as well as Dvorak's arrangement exhibited some of the shortcomings of Dvo~ak's theories. ·The argument is one of aesthet ics : Can a work of beauty consist primarily of obvious elements, such as the known tune of "Old Folks at Home" or the unsubtle .rhythmic pulse of the American Plantation Dances ? Perhaps Dvorak had reasoned that his own success as a composer was due primarily to the wide acclaim accorded his Slavonic Dances, a work based on his own native folk music. Yet, this particular composition and--for that matter--the "New World" Symphony . as well, actually detracted from the true. worth of Dvo~~k's entire compositional output. In this respect, it could be argued that the "New t.Jorld" Symphony and his other works based on so-called folk sources were primarily responsible for relegating Dvor~k to the position of a "second-rate composer." It is only within recent years that much of his music has come out of obscurity. Witness, for example, the resurgence of his string quartet literature (totaling 14) pri~arily due to the work begun in 1962 by the Kohon . Quartet of New York University. In that year.,. Vox Records' had sponsored the Kohon' s recording of all ·the quartets; the project, in turn, gave rise to a series of Kohon 'concerts which included nine of the fourteen Dvo~&k quartets. One month prior to the first of these concerts, Harold Kohon gave his own appraisal of this literature, rating Dvor&k as lithe greatest second-rate composer who ever lived"; 214 yet, at the same time, he considered these quartets to be "a great deal more interesting and rewarding than, say, the quartets of Brahms. n69 ·Of the nine quartets that were per formed by the group in ,1962, four (Op'. 2, 16, 34, and 80) "Received their first public perfo%1llClllce in the United States. • • • "70 The symphonies also have suffered a similar neglect until quite recently with the advent of the Artia recordings; the same may be said for numerous other Dvo~ak works in all media. Thus, only since 1962 have musicians begun to search into the archives of much of what had hitherto lain dormant. Harold Schonberg, a strong protagonist, in furthering the resurrection of these long neglected works, wrote: "Those who call [Dvorak] second-rate severely underestimate him, possibly misled by the innocence and transparency of his music. "71 Sch9nberg pointed out that of the nine symphonies, only three are usually heard. "Why," Schonberg asked, "don't conductors look at the Symphony No. 1 in D, or the early E-flat, both lyric, powerful, and brilliantly scored?" Of the Requiem or the Stabat Mater, Schonberg considered them "much superior to , Brahms' German Requiem." One of the possible reasons behind this neglect, according to Schonberg, was that musicians are 69Alan Rich, tlFriends to Dvorak," The New York Times, 2nd sec., Sept. 23, 1962, p. 13. 70From the Program Notes by Dr. William Ober in the recording album of ' Dvorak: String Quartets, New York: Vox Prod~ctions', Inc., 1962, VBX50. 71Harold Schonberg, "Healthy Creator--Antonin Dvo~ak's Music ,is Accepted Today, But Somewhat Grudgingly," The New York Times, 2nd sec., Oct. 14, 1962, p. 15. 215 not inclined to learn new pieces, but "are content to play the same pieces over and over again.,,72 An additional com ment to this could be that musicians play what they feel the t- public wishes to hear. As Dr. Nettl noted after commenting upon the myriad number of Dvo~ak's neglected works which merit performances: "It has frequently been observed that Americ~ri audiences, once they take a liking to certain pieces, cling to these with-tenacity, seldom permitting their substi tution by other works of the same composer.,,73 Thus, it might be said that the overpopularity accorded a mere handful of Dvorak's compositions served to obscure the true value of - the composer. The above information has been presented in order to show that, in certain ~espects, Dvo~~k's theories about American music and his own American : compositions were detri mental to t -he acceptance _ of his other compositions--compositions which apparently would repay serious consideration on the part of the present day ~usician and listener in general. Yet Dvorak-' s pronouncements had stirred Americans to reshape their thinking, not only in regard to the exploration of-possible source material, but also--and perhaps most important of all--to examine their own resources in the field _4 of musical education. Although it was shown (chapter v) that Dvo~ak wielded very little power as -director of the National Conservatory (the title of "director" was in name only), his 72Ib~d. 73Paut- Nettl, "What Dvorak Means to the Czechs," AmeriCan Music -Loyer, VIII, No.1 (1941), 4. 216 . 1nf~uence, albeit indirect, was perhaps limitless regarding America's re-evaluat1on of its own overall music potential. One of the most important issues to note, in this respect, was that Dvorak had given his full endorsement to the work being . accomplished by the National Conservatory. Primary ·among the Conservatory's purposes was to develop an institution which would fulfill the musical needs of American students, that is, to prove that it was unnecessary for Americans to travel abroad in order to secure a sound education in music. In fact, during Dvo~ak's tenure, an article contained evi- · dence 'which showed ' that a student graduating from this Con servatory could almost be assured of a successful career in music. 74 The question was then posed: Why do A~ericans con tinue to assume that Europe is the only place for a good 'education? The answer to this, according to the article, was that Americans were "still in awe of Europe,,;75 yet, (~he article quoted Joseffy), "' ••• we have pedagogic talent enough . to furnish a dozen conservatori~s.'" Joseffy referred V / ," to Dvorak as a gigantic figUre in the eyes of the Euro-. peans ••• and one of the great men of the century.'" Dvo~ak was quoted as having expressed the regret that the government had not given financial support to the Conser vatory, whose purpose was · to free Americans from foreign influence • . According to Creelman, Dvorak's opinion was that, in Creelman's words, "America will yet tower up among the musical nations." 74James Creelman, "Does It Pay to Study Music,?" The Illustrated American (Aug • . 4, 1894), pp. 136-37. 75l.bis!., p. '136. 217 Creelman asserted that "the whole influence of the great organization over which Dr. Dvorak presides is being ,exerted to create an independent [italics supplied] system 'of musical ~ducation in America. ,,76 These attempts, Creelman added, have ' been evidenced by such manifestations as the prize competitions (encouraging American composers) and by the 'excellence of its predominantly American faculty. "'I stay in America,'" Dvorak said, "'because I recognize the " National Conservatory as one of the foremost schools of the world, and I am proud to be at the head of it.'" v/ In other words, Dvorak completely endorsed the Con- servatory's policy of encouraging native American talent. , 'The 'conclusion of the article summarized America" s problem~ . while. pointing to the significance of Dvof~k's tenure: The music of the nation is now in the hands of foreigners. Let us educate our own teachers and create a system that will spread sound ideas and reflect credit upon ~he nation. Why should Americans go abroad to study when they can bring the best teachers here and save the expense of the· journey. What we need are American musi cians educated in America and surrounded by American influences. • • • The future is in our hands. A great musician has crossed the7seas to live with us and help us work out our destiny. I Dvorak, therefore, was strongly associated (in the minds of the public) with the Conservatory which in turn firmly advocated a policy of building up America's educational resour!ces--independent of European influence. The unanimity o·f accord between Dvo~£k and the Conservatory is readily 76 I bid., p. 137. 77Ibid. In respect to the development of America's musical education resources (conservatories), one might ponder . the possible relationship between this late nineteerith century manifestation and the twentieth century r 'enaissance in the , field of public school music. 218 understandable, for it was shown (in chapter iii) that Mrs. Thurber built her school along the same prin,ciples as set f~rth by the European conservatories. Also, it should be recalled that she had sponsored concerts prior to Dvorak's tenure in which only American composers were represented. In other words, Dvorak had arrived at the precise moment in the Conservatory's history when there was a strong emphasis 'placed on the concept of nationalism. By espousing his own theories on American music; by directing the prize awards; and finally by proving his theories in the form of his American compositions--by all of these, Dvo~~k had shown that America had a great potential which, when fulfilled, would place this country alongside the great musical nations of Europe. : ~nother interesting fact in the Creelman article was Cited in a quotation by Joseffy,who said that the Conservatory wanted n'to educate teachers who will not simply teach Gottschalk's ~usic, but will try to cultivate in their pupils an appreciation of composers like Schubert.' 1178 Here again, it is implicit that Dvo~~k had inspired the statement since it was shown (in chapter v) that Schubert was greatly stressed in Dvot£k's ' composition class. wlso, it should be noted that Dva.reak had just completed an article on Franz Schubert, 79 whi·ch Sir George Grove praised as an "interesting critical 78Ibid., p. 136. 79Antonin Dvot-ctk (in collaboration with Henry T. Finck), . "Franz Schubert," The Century Illustrated Monthly Magazine, XLVIII, No.3 (1894), 341-346. 219 study. n80 ' Paul. Stefan (also a Schubert biographer) agreed with Dvorak's findings that, in effect, Schubert's piano, music was Slavic, as \-eIe "some of his other works ... 81 It is apparent that Dvorak rarely failed to take advantage of an opportunity to educate the public insofar as the potential of folk music was concerned. (One of the few exceptions was his negligence as a conductor in regard to furthering American folk music). Creelman's article had touched upon America's neglect of the art of music; that is, the government had withheld financlal support to _the National Conservatory. Dvor£k him self was very disturbed about this neglect, as evidenced by an article, "Music in America," which he wrote for Harper's Monthly. 82 This discourse by Dvorak, with the acknowledged cooperation of Emerson,83 represented his final ideas before leaving American soil in 1895 (actually, the article was pub lished after he had returned to Bohemia). It was written at a time when he had gained enough insight through his own per sonal experience (the ,everpresent salary problem which plagued his tenure) to have become very outspoken on the idea of ,'. government support of the arts. Since this subject, which 80George Grove, "Franz Peter Schubert," Grove's Dictionary of Music & Musicians, J. A. Fuller Maitland (ed.) (Philadelphia: Theodore Presser Co., 1918), IV, p. 334. 81Stefan, Anton Dvot-ak, p. 239 •. 82Anton!n Dvorak (in collaboration with Edwin Emerson, Jr.), nMusic in America," Harper's New Monthly Magazine, XC, No. 537 (1895), 429-434. 83Ibid. p. 434. -, 220 is stlll a provocative one today, was comparatively new at that t~me, ,the following discussion will treat Dvo~~k'~ statements -in some detail and will relate solely to the points brought out in his article. The discourse began with an acknowledgment that three years in America was l ·ittle time "for a foreigner to give a correct verdict of the affairs of another country." (Page 429.)84 His information was based on his impressions as gathered from his teaching experience as well as from what others had told him. The two traits which he found to be most impressive' about Americans were unbounded patriotism and enthusiasm. (Page 429.) He explained "patriotism" to the effect that., "Americans considered anything manufactured in their country to be "the finest or grandest"; "enthusiasm" was relate~ to the way in which Americans "push" to get to the "bottom of th,ings at once." In this r~spect, as Dvot-ak explained, he was annoyed at first by his pupils' push to do new things all at once; now, however, he had come to ,realize that this eagerness was the "best promise for music in America." Although he perceived the trait of enthusiasm in the Americans, he quickly qualified his remarks, stating that this enthusiasm, unfortunately, was narrow in regard to the public's primary interest in materialistic matters. Acknowl edging that such institutions as hospitals, 'schools, and libraries were well supported by generous gifts, he then 84The numbers in· parenthesis--(p. 429)--refer to the page in Dv.orak's article for Harper's. 221 queried: Why had "SO little been done for music?," Other countries wer~ pointed out as having supported the arts, whereas America alone failed to give this needed financial encouragement, leaving it, instead to "private individuals like Jeannette M. ~hurber and H. L. Higginson." (Page 430.) He pOinted out that his own success as a composer was due to the grants received during his years of struggle; to thiS, he added an emphatic statement: Since "Art" does not pay at first, it must be ,subsidiz~d; otherwise, many talented indi viduals will be forced to leave' the profession. He implied ,that this ,was unfortunately prevalent among the needy and talented Americans. He further pointed out that even a talented student who had completed his education had no assurance of eventual recognition. Dvo~ak was directing his attention squarely at the plight of American composers. He reasoned that they had no outlet for their works, since orchestras were very few, and opera companies--using the English language--were non- ' existent. Moreover, publisher,S were guilty of accepting only "light and trashy mUSic"; 'this situation was also prevalent in other countries, Dvorak said, but worse in America. In : this respect, he noted that his own compositions on American , subjects were rejected by American publishers and thus neces sitated their being published abroad. (Pages 430-431.) The argument of t;here being "no popular demand for good music in America" was disputed by him, claiming that American audiences were as large and as attentive as those found in Europe; 222 however~ 'opera audiences lagged in this country because of the absence of operas sung in English. (Page 432.) The 'remainder of .Dvorak's discourse was primarily con~erned with his continued exhortations on the value of folk ' music. He was cognizant that America was a nation of heterogeneous peoples (with a decided Teutonic influence) who absorbed the ~usic of other lands and thus were unable to . produce their own national music. Despite this seemingly " untenable situation, he continued to maintain that Negro and Indian races provided the material necessary for .such national music. He brushed aside the argument that the Negro was not indigenously American, and he minimized the issue regarding the validity of the so-called g,pirituals written by Stephen Foster. The important thing, regarding Foster's songs, was "that the music itself • • • [was] a true expression of the peopl.es' real feelings." To obtain this true expression, .Dvo~ak advised searching deeply into the numerous strains of this nation: "Undoubtedly .the germs for the best of music lie hidden among all the races that are commingled in this ·great countrY." ' (Page 433.) He validated his theory by pointing to numerous composers who utilized folk sources: Smetana, Liszt, Chopin, Bizet, Berlioz, Weber, Beethoven, Wagner, Rossini, Verdi, and practically the whole Russian schoof. He cited: elCamples from each of these composers .• (Pages 433-34.) Dvorak ended his discourse by summarizing the 'entire . I musical situation in America, along with giving his views on the future of American music. He said: 223 Already ' there are enough public-spirited lovers of music striving for the advancement of this their chosen art to give rise to the hope that the United States of America will soon emulate the older countries in smoothing [by way of federal grants] the thorny path of the artist and ~usician. When that beginning h a s been made, when no large city is without its public opera house and concert-hall, and without its school of music and endowed orchestra, where native musicians can be heard and Judged, the.n those who hitherto have had no opportunity to reveal their talent will come forth and compete with one another, unti l a real genius [italics supplied] ,emerges from their number, who will be as thoroughly representative of his country as Wagner [whose operas, Dvorak earlier pointed out, were nall inspired by German subjects 2w " with the exception of Ri enzi ] and Weber [Der FrekschutzJ are of Germany, or Chopin of Poland. [Pag~ 43 .] " It can be seen that Dvorak was thinking in an idealistic manner;' yet his theories were not unreasonable Since, as he pointed out, the music of the Old World countries was based principally upon what he was espousing. This whole article was, in effect, a challenge to Americans to revise their entire attitude towards the arts--music in particular--in order to bring about a situation which would permit a "real genius" to arise. In this respect, it coul d be argued that ;he society ~ which Dvorak projected was never fully realized in this country, and therefore his projections, embracing so many areas of Am~rican musical life, still remain in the realms of theory.85 ~ 85It is interesting to note, in respect to Dvorak's projected society, that the movement in public school music (starting in the twentieth century) was to open up an unex- ,pected avenue of public encouragement of the arts. For an excellent account of this movement, see the chapter by Allen BrittIn, "Music Education: An American Specialty,H in One Hundred Years of Music, edited by Paul Henry Lang. Furthermore, this movement has antedated by many yea,rs the recent develop ments in 'the area of federal support of the arts, e. g., the Music Specialist position in the U. S. Office of Education, , the "Yale Report n of 1964, and the forthcoming John F. Kennedy 'Center for the Performing Arts in. Washington, D. C. 224 Mrs. Thurber's Conservatory later received neither federal nor private support. According to the 1912-13 catalog, the 'Conservatory was forced to charge tuition fees "payable in . advance." (Judge Bayes' papers.) By 1916, however, the Conservatory was still seeking outside support. 86 The last notice to the effect that the Conservatory was still func tioning was a document of the 1928-29 school year. (App. A, 280.) This document as well as others pertaining to the . v/ post-Dvorak era of the National Conservatory has been included in the Appendixes in order to provide material for further research on the subject of the Conservatory. Since it has - \ been shown that Dvo~~k himself exerted very little, if~any, influence on the Conservatory's policies during his tenure, there was no justification for presenting the history of the v / 87 Conservatory past the date of Dvorak's sojourn. 86From a pamphlet issued by the Conservatory in 1916, titled "Thirty Years of the National Conservatory of Music of America; 1885-1915," Written by ~enry T. Finck (Judge Bayes' papers). 87For tqe reader's information a few facts should be noted: Mrs. Thurber lived until 1946 (age 95). During the 193·0's 'and 40's she steadfastly pursued a policy of estab lishing the Conservatory in Washington, D. C. (App. A, 281 --H • . R. Bill.) Her work was continued by Judge Bayes, the last surviving officer of the Conservatory, during the 19508 and as recently as 1960. William Crawford, the lawyer who handled Mrs. Thurber's estate, stated in 1963 that although the Conservatory was no longer actively functioning (according to Crawford, it ceased to "function actively" in 1920--App,. B, 315), the Conservatory was still in existence --at least on paper. (From a personal interview with William Crawford and Judge Bayes, August 16, 1963.) 225 . v , The Importance of Dvorak's Ideas for Nationalism in America Dvo~~k had stated his views on folk music and had . shown through his own American compositions the potential of th~s source which had hitherto gone unnoticed. During his . tenure, as .he himself implied, there were no manifestations of a "real genius" emerging as a result of his counsel. Nor, for ·that matter, has this ideal of Dvorak's been realized up to the present day. One could .argue, however, that the pri mary importance of Dvo~ak's views was not to be measured according to a qualitative or quantitative estimate of American composers during the past seventy years, but rather by the broader changes that have occurred during this half century •. . Most significant was the fact that America began to examine its own native sources with the concomitant of relaxing its dependency on European influences (particulary the German). Although no composers of the first rank were ·to appear around t~e turn of the century, there was activity aimed in the direction of Dvor~k's challenge. It was shown (in chapter v) that his pupils (Shelley, Loomis, Fisher, and Rubin Goldmark among others) remained ~elatively. unknown in regard to their success as American composers. All of them, however, did carry on the work of experimenting with American folk lore. Moreover, it was pointed out that Goldmark himself had become a teacher of prominence, .having had such ·students as Gershwin and Copland --both of whom, therefore, were indirectly influenced by 226 Dvor~k. .Shelley also had a pupil of importance, Charles Skilton (1868-1941), composer, teacher, and organist who was .strongly interested in Indian music, employing this source for several of his works: Kalopi n and The Sun Bride (operas), Two Indian Dances (orchestral), and many others. One of the most important figures, though, had no direct or indirect relationship to Dvo~£k: Arthur Farwell (1872-1952h American c~mposer, teacher, and. author who ' accepted Dvofak's challenge to investigate indigenous American music. In 1901, he founded the Wa-Wan Press--a publishing house subsequently sold to G. Schirmer in 1912--which "specialized in the publication of American composition built on native Indian and Negro themes. n88 Over thirty composers ' . were represented; among them were Henry Gilbert (1868-1928) who specialized in Negro music, and Harvey Worthington Loomis (1865-1930), a Dvofak pupil who used Indian material for his compositions as well as l ect ures . Farwel l himself wrote numerous compohitions (in all media) based on either Negro or Indian music: Symphonic Song on Old Black Joe (orchestral), Navajo War Dance (for chamber orchestra), Four Choruses on Indian Themes, and Plantation Melody (piano and violin). He also held important music posts at such institutions as the New York Music School Settlement, the University of Southern California, and ·Michigan State College. He was a critic for Musical America (1909-13) and a contributor to Thompson's Cyclopedia ("Nationalism in Music"). Gilbert Chase (critic, 88Thompson's Cyclopedia, p. 2022. 227 j~urnalist, and musicologist) credited Farwell with having been the spokesman for the "movement of liberation" (from German influence) begun by Dvorak. 89 Other twentieth century composers, having no direct or indire·ct relationship to Dvorak, wrote with an ear tuned towards native music·: William Grant Still (Afro-American Symphony, A Deserted Plantation, and The Black Man Dances), William Dawson (Negro Folk Symphony), Robert Nathaniel Dett . (Chariot Jubilee--an oratorio), Edward MacDowell (Second [Indian] Suite),-Roy Harris (Johnny Comes Marching Home), Ernest Bloch .(America), Ferde Grofe (Grand Canyon Suite), Charles Cadman {Four Indian songs),/aUl Pisk (A Tree on the Plains--an opera), Norman Lockwood (Children of God--an or~torio), Elie Siegmeister (Western Suite), and Don Gillis l (An American Symphony). . list are Negroes. The first three composers in the The list does not pretend to cover all the twentieth century composers whose main characteristic has been iden tified in some way with American music. It merely suggests that a significant number of American composers, utilizing . the folk source as a basis for many of their works, did flourish during this century. Several qualifications should be noted regarding the r inclusion ~f MacDowell. In the article of "American Indian Music," ·Charles Sanford Skilton (pupil of Shelley), noting the r .elativelY few composers who have utilized Indian melodies, 89Gilbert Chase, America's Music (New York: McGraw Hill Book Co., 1955), p. 393. 228 cited MacDowell as the first to experiment in this field; I Skilton said: "The pioneer work is the Second Orchestral or ' .Indian' Suite of Edward MacDowell, composed in 1890, before DVO~Ak's Symphony From the New World, employing themes from the thesis [Uber die Musik der Nordamerikanischen Wilden] of Dr. Baker.,,90 The point should be noted, however, that the Suite may have had its inception in 1890, but it was not pub- , lished until 1897, which could imply a Dvor~k influence; moreover, if MacDowell had finished the Suite around the time that the "New World" was premiered (December 15, 1893), he doubtless would have given immediate notice of this fact. Most important, though, it is erroneous to suggest that MacDowell predated DVO~Ak's views. John Ta$ker Howard, dis cussing the Suite, doubted that MacDowell "ever seriously thought he was writing American music just because he used Indian melodies. 1191 In fact, MacDowell himself minimized so called "nationalism" in music, according to Tasker, who cited one of Ma.cDowell's discourses; Tasker wrote: "MacDowell himself disposed of nationalism in music: • • • Nationalism so-called is merely an extraneous thing that has no part in pure art.,,,92 The employment of native melodies intact, in other words, had no place in a serious composition. MacDowell' .s solution to the question of nationalism was more subtle. "In a [Columbia University] lecture," according to Howard, "he said: 90Charles Sanford Skilton, "American Indian Music," in Thompson'.s Cyclopedia; p. 45. . . . 9lJohn Tasker Howard, "Edward MacDowell," in Thompson's Cyclopedia, p. l058~ 92Ibid. 229 'What we must arrive at is youthful optimistic vitality and undaunted tenacity of spirit that characterizes the American man.,ng3 : In some respects this is what Dvorak had advocated, that is, not an exact repetition of native music but rather "r capturing its spirit. Dvo~ak failed to realize, however, , that Negro and Indian music did not necessarily represent the spirit of ' the whole of America, but rather reflected two relatively small cultural segmen\s of this large heterogeneous L~ nation. · In this respect, therefore, MacDowell's view was perhaps closer to so-called American nationalism than was Dvorak's comparatively narrow viewpoint. In the book, A Short History of American Music, Howard discussed the views of both of these composers and concluded that the two were widely • • • Spiritually d,ivergent; of MacDowell, Howard wrote: " he was never a part of it [nationalism], nor was he in sym pathy with Dvorak's views on nationalism. n94 Therefore, although MacDowell was one of the first composers to experi ment with Indian music, his contributions towards this field ( .. were very limited; in fact, as implied above, he subsequently ,was a negative force in the development of native American music. One further implication should be noted in assaying ( the importance of Dvo~ak'in regard to nationalism. The "New World" Symphony and the many discourses pertaining to its origin were of major Significance regarding America's attitude 93Ibid • . 94Howard & Bellows, Ope cit., p. 166. 230 towards Negro music. R. Nathaniel Dett (1882-~4~, American Negro composer and author (compositions based on Negro folk music), wrote: There have been three factors outstanding in their influence on the thought of America regarding Negro music development: (1) The world tour, about the year 1880, of the famous Fisk [University] Jubilee Singers. (2) The compositions of Stephen Foster. • •• (3) The Symphony From the New World, by Anton£n Dvorak.95 The "Fisk group (organized in 1871) was composed of American Negroes who in 1880 gained world critical acclaim for their singing of Negro ~pirituals. (Clapham suggested that it was possible for Dvorak to have heard them during this tour, thus allowing him to gain "something of the nature . of Negro song" prior to his American sojourn. 96 ) The tour did ·awaken Americans to the realization that an "unexploited art ~reasure II (s.pirituals) was to be found within their. own country. 97 In regard to Foster's songs, Dett made three observations: (1) For the first time the Negro as a social element in the life of the American people was artistically depicted, thereby creating a sympathetic, if not alto gether respectful [italics supplied] interest in the race. (2) It revealed the Negro in a secular light, which contrasted sharply with the religious aura which the Jubilee Songs, or Spirituals, had thrown around him [the Negro J. (3) entwined dramatic It demonstrated that the life of the Negro, as with the development of an Americana, had possibilities of high commercial appeal. 98 9SR. Nathaniel Dett, "Negro Music,." Thompson's Cyclopedia, p. 1243. 96Clapham, "Dvo~ak & the Impact of America," OPe cit., p • . 209. 97Dett, loc. cit. 98Ibid _. 231 The success of Foster's songs, Dett continued, resulted in a . preponderance of popular music based upon all segments of Negro life--"from the sublime to the ridiculous." None of these song~, according to Dett, was of a stature equal to that of Foster's accomplishments. From the above, one ' could surmise that in certain respects both factors--the Fisk Singers and Foster's songs --contributed to an actual downgrading of America's attitude towards the Negro race; at least these two factors ·did not permit· the ennobling of the race in any way, but rather . t d t th N ' 'b· . p04n e ou e egroes su serVLent eXLstence. In this respect, therefore, the third of Dett's "factors"--Dvot-ak's Symphony--equalized the shortcomings of the other two; of the Symphony, Dett wrote: Quite apart from its musical worth, it has large . significance in that it demonstrated for the first time that the idioms [pentatonic scale, syncopation, and so forth] have symphonic value. Thus was exploded a fig ment in American. thought which had assumed, perhaps unconsciously, that because the slaves pOSition was inferior all things created by, and appertaining to him ~ust.necessarily be inferior. [Italics supplied.] This statement by Dett corroborates the sociological impli cations suggested earlier in the chapter: in effect, that a serious composition employing Negro traits as its basis was incapable of achieving a noble character, since the Negro race was ~ooked upon as being inferior. Dett himself echoed Dvofak's hope that eventually a real genius would arise and thereby fulfill what had been successfully started in the "New World" Symphony. The 99Ibid. 232 following statement by Dett bears a striking similarity to what Dvorak had implied: The Negro composer, rich in his heritage of son~, reaches up for the canons of form, by which all mUS1C has been advanced; the white _composer, schooled in the traditions of artistic development, reaches down for the inspiration which has ever sprung from the soul of those close to ·the soil. Eventually their hands must meet. It takes no prophet· to foretell that from their union shall arise a spirit [italics supplied] which shall sound the note of a new and representative art to the ears of the waiting world.10 0 In this respect, Dvo~ak's projections are still to be fully realized. Summary and Conclusions The path which Dvofak followed during his three-year sojourn was prophetically implied in a welcoming speech on October 21, 1892, whe~ Colonel Higginson said that Dvo~ak was to guide America in discovering a "New World of music" '--an American music--independent of German and Italian influences. Dvorak succeeded in this challenge, not only by suggestiilg and then by giving concrete evidence (the "New World" Symphony) that a great potential was to be found in America's nativ~ music, but also by his actual presenc~which ·was a tacit endorsement of Ameri~a's musical education struc- ture.His significance in regard to nationalism went beyond the mere folk music implication, and . encompassed the whole of American musical life. Through his exhortations to America's investigating its own resources, he effected an opening wedge which "was lOO~., p. 1246. 233 ultimately to release this country from its dependency on Europe. His American compositions, proving that the spirit of folk music could be successfully incorpo~ated into a classic mold" stirred ~he people into the realization that their (America's) folk music had unlimited possibilities., In this respect, it should also be noted that his Symphony was a factor in changing America's attitude towards Negro music: no longer was this race's music to be thought of solely as, representative of a menial people, but instead their music was to be looked upon as a possible basis for noble compositions. Although there were skeptics (such as MacDowell and Philip Hale) who challenged Dvorak's ideas, there were numerous other American composers and authors who carried v/ on' what Dvorak had commenced. The final criterion of judg- ment, however, should not rest on the number of successful Ame,rican compose'rs who emulated Dvo~ak' s views; more important was the fact that America for the first time became cognizant of the musical resources within its own borders. CHAPTER VII SUMMARY AND CONCLUSIONS sojourn in America--1892-95. Since he held the title of dlrector of the National Conservatory for that enti.re period, it was assumed that this position enabled him to effect changes regarding the' Conservatory's curriculum and its gen eral. policy. In arriving at a conclusion, therefore, several major areas, were examined: (1) the history of Czech music prior ,to Dvorak; (2) Dvorak's activities prior to ,his so journ; (3) the history of the National Conservatory prior to Dvof£k; , (4) Dvofcik's contracts, which described his duties at the Conservatory; (5) his actual duties at the Conserva tory; (6). his American compositions and discourses on American music; (7) American nationalism in the twentieth cen- L-tury. The findings in each of these areas were as follows: Czech Music Prior to Dvo~ak Despite having been under foreign rule since~, the Czech people (especially the peasants) were able to retain' their n~tional identity. Their music had a tradition which ' dated from the thirteenth century, and later was affected by the Hussite Wars and the Reformation. Many significant Czech composers appeared in the eighteenth century, but it was 234 235 Smetana. (mid-nineteenth century) who strongly identified with the fight for independence (1848 ·Revolution) and probed deeply· into the potential of native folk music. DVO¥Ak Prior to Hi s Sojourn Dvo~ak was born into a Czech community and therefore did nQt have to search (as did Smetana) for a national iden tity. His early style of composition (1862-76) revealed an emulation of the Classics (Beethoven and Schubert) and the high~omantics (Liszt ~nd Wagner). Notwithstanding the many disappointments of his early creative efforts (none among the voluminous number of compositions was performed), he persistently continued these experimental efforts until finally coming ·upon a style that was truly his own, during the second half of the 1870·5. These new works (the Slavonic Dances were examined) exhibited traits of Slavic folk mUSic, yet re~rained, for the most part, from keeping th~ folk melodies intact; his works reflected the spirit of the folk music. This style of writing (gaining wide recognition for him) came v·ery naturally since it was rooted in the music he . had heard in his childhood. It should be noted that -Brahms was his faithful mentor and supporter during this ascent to worldly acclaim. The decade of the 1880 1 5 witnessed an increase of his popularity, especially in Englan~ where he made numerous visits. By 1891, he had received two hon orary doctorates (Cambridge and Prague) and was appointed professor of composition and orchestration at the Prague Conservatory. It should be noted that this was his sole 236 teachi,ng, experience (aside from private instruction) before n his appointment to the National Conservatory in New York. The National Conservatory Prior to Dvorak The CQnservatory was founded in 1885 by Jeannette M. Thurber, who attempted to model the school along the principles 'Qf the Paris Conservatory: government support, free tuition (to the talented and needy), branches in other cities, a \ singing school in connection with the main establishment, and a curriculum which emphasized solfeggio. Although these , initial attempts met with some degree of success (with the exception that governmental financial aid never materialized), the only principle that remained throughout the history of the ' National 'Conservatory (1885-1929) was the emphasis given to sO,lfeggio. By 1890, Mrs. Thurber had secured an outstanding . faculty, while the students represented over thirty states, reflecting the claim that the Conservatory was truly '''National •• ~ In 1891, the Conservatory was granted a national ;. charter, which was, perhaps, the first instance that Congress acted on a matter pertaining to the arts. Despite the recog nition which the Conservatory had acquired, financial security was not forthcoming, since the students were primarily very . young and female (many were also Negro or blind), thereby greatly precluding the possibility of student reimbursement. Mrs. Thurber, who carried the financial burden, was strongly interes~ed in building up America's image of its own musicians; not only did s,he stress the education of native-born talent, but she also was the first to sponsor a concert devoted solely to Ameri~an-born composers. 237 The Contracts (1892-94 and 1894-96) Dvof~k and Sibelius were the two candidates considered for the position as director of the Conservatory; owing to a matter of ~onvenience, Dvorak was chosen in 1891. Several alterations were made before Dvorak signed the first contract i~ 1892; the other agreement was signed on April 28, 1894. In regard'. to his duties, neither contract mentioned admin- .istrative functions, which implied that his title "director" was in name only. His teaching schedule was light: nine hours .per week of. composition and instrumentation classes in which only talented pupils would be admitted. In regard. to conducting, the first contract stipulated a pos,sibility of six concerts devoted entirely to his own works; the second contract omitted this item. . Both contract.s referred to his 'rehearsing the orchestra and chorus. His salary was $15,000 annually for · the first two years; the last year it was re- . duced to $10,000. The decrease was probably influenced by the Panic of 1893. It can be seen, ther~fore, that although the two contracts contained essentially the same information, the first was considerably more favorable to Dvorak, especially regarding salary. His Actual Duties Dvo~~k's·American sojourn lasted from September 26, l892,until 'April 16,1895. The three years were spent mostly . in New York City, except during the summer of 1894,when he returned to Bohemia for a visit. In regard' to his duties as adminis~rator, teacher, and conductor, the following was . noted: 238 Administrator , He was rarely, if ever, consulted on administrative matters. The one possible exception was his interest in the pt;ize competition which had been established by Mrs. Thurber; in this' respect, he made a few suggestions which were of negligible importance. Indirectly, he may have been respon- -sible for further encouraging the admittance of Negroes to the Conservatory. Teacher ' His class was small and only talented pupils were admitted. Apparently, he taught as he himself had learned. The students were given, composition exercis'es and were told to emulate the style, of Beethoven and Schubert. The tacit implications of his pupils' discourses revealed that the subject of nationalism was omitted from his teaching. Nothing v/ was suggested' t9 indicate that Dvorak was more than an ordin- ary teacher; none of his pupils emerged as composers of the first rank. Conductor Public concerts of the Conservatory Orchestra were rare, owing to a restriction which prohibited professionals from engaging in performances with amateurs (the pupils). Dvorak apparently was unable to develop the, pupils' ability to enable them to give concerts on their own. He himself was shown to lack the temperament , and mechanics requisite for good conducting. It should also be noted that his con ducting' engagements with groups not connected with the Con servatory -were few. Although these programs did contain , 239 _ nationalistic compositions of his own, there was an absence of works by any American composers. Therefore, according to -the available -evidence, Dvorak as a conductor did not make any significant contributions in furthering the development of American music. One other factor should be noted regarding Dvorak's r~lationship with the Conservatory in general: his first year was comparatively happy; his last two were filled with financial anxieties. His correspondence with Mrs. Thurber was largely devoted to requests for salary payments and to threats of exposing this untenable situation to the world. This conflict, which reached serious proportibns, was attri buted too the Panic of 1893, when Mrs. Thurber's finances had taken a sharp drop. In this respect, it was suggested that - - " '/ - , Dvorak might have chosen to remain in America if economic conditions had not taken that downward turn. Nationalism as Revealed in His American Compositi ons and Di scourses Dvorak's Symphony From the New World , Ope 95, was completed on May 24, 1893; three days before, Dvotak asserted that Negro melodies contain all that would be nece~sary to inspire "great and noble" American music. That summer, he wrote the Quartet, Ope 96, and the Quintet, Ope 97, during -a visit to Spillville, Iowa, a Czech colony where he also -came -in contact with Indian tribal music. These three compositions (Symphony, Quartet, and Quintet) were, according to -Dvorak, -based on Negro and Indian folk music. In this respect, it is important to note that Dvorak himself was responsible for the furor and controversy. surrounding the derivation of themes used in these works, since his views 240 ' .. were given before the works' premieres. He also defined what he considered to be the limits of nationalism in music, namely, any music which "lives in the heart of the people." Some of the songs of Stephen Foster, therefore, might be ' considered spirituals, representative of the Negro race. How- · ever, the use of such well-known songs as the basis for a larger work was questioned by the writer in regard to their ultimate aesthetic value in a serious composition. American Nationalism in the Twentieth Century Dvorak's American compositions had proved that the " spirit of folk music could be incorporated successfully into a cl.assic mold; this, in turn, stirred Americans to believe tbat their own folk music had unlimited possibilities. In this respect, it should also be noted that his Symphony, in particular, brought about a changing attitude towards Negro mUSic; that .is, for the first time, this race's music was no longer considered solely as an expression of a menial people, but rather was looked upon in ennobling terms. AL though Dvorak's opinions met with adverse criticisms during and subsequent to his sojourn, there were numerous other American composers, authors, and critics who, for the first · time, were 'prompted into the realization of America's musical · resources, especially regarding the possible folk song trea . sure within this country's borders. This realization, in " . 7. ( •• ~ t' . " .. ' t 241 turn, represented a reversal from the normal dependence on European influence. Needed Reseaj£ch Although the investigation has centered on the move ments of American culture in regard to post-high school ·musical education(the education of the Conservatories), it should be pointed out that the development of American public school music in the twentieth century opened up an unexpected avenue of public encouragement of the arts. Since it was . v/ shown that both Dvorak and Mrs. Thurber envisioned an Ameri- can enthusiasm for the arts, it would be of interest to dis' cover the relationship between the development of musical education in America and the twentieth century 'renaissance . ill. .. p~blic school music. Furthermore, although this enthusiasm was irreconcilable with America's preoccupation with materi alism, a possibility exists of a relationship between this project~d enthusiasm and the current trends in federal support of the arts, as manifested in the Music Specialist position in the United State~ Office of Education, the "Yale Report" of 1964, and the forthcoming John F. Kennedy Center for the Performing Arts in Washington, D. C. APPENDIX A Contracts, ' Formal Agreements, and Notices Page Conservatory Certificate of Incorporation, 1885' 243 Formal ~nnouncement, December 17, 1885 ·· 245 Student Contract, October, 1887 246 Conservatory Pamphlet, 1889-90 247 . Act'. of Congress, March 3, 1891 (amended 1921) 248 Contract Alterations (in' German)', 1891 249 Contract ·A1terations (English translation), 1891 255 First Contract, 1892 259 Conservatory Catalog, 1892-93 266 Second Contract, April 28, 1894 272 Conservatory Catalog, 1894-95 277 An Act, (State of 'New York), -February 10, 1899 279 Conservatory Notice, 1928-29 280 A Bill (H. ~. 6050), March 31, 1937 281 242 ( i .· l f J I '" . -..".... .. ~ .. I'" , ", " d .• ,:' ...... ·4. 14, ... . ., .) .. ... r .~J :;i •. ":;,. '.1 - , , . ~ 0.... ~~ ..... ,. . __ -... : .. 'l"l"'~' • I • ).. • .. . . \..., I .. ' .. , .,.. • ..... ,. . I c '. , CONSERVAT6~y OF 'MuSIC It ' •• OF "', . '.' .. ~ _.:...-_-~ ••• ----r.; .- " CERTIFICATE OF INCORPORATION., _.- STATE OF NEW YORK, .' } City and County of New York, 55.: " , WE, THE UNDERSIGNED, desiring to found ,and endow.a Musical Academy 243 " ..... ~.', I.. • 1 .. .. !t .. j t t ., within the State of New York for the education .of · persons in th~ iower and, .... - ...... : ....... --.. ,~--""'-"""------'" higher branches of music, f<;>r the -purpose of incorporating suc)h 'proposed Instill} .'.,'. ,'. tution under and in pursuance of an Act of the Legislature of the-Stat~·.of ~ew .. ' ..... :',\.~', York, entitled h An Act relative to the incorporation of ~IusicaLCo~lege, &c~.o,QI~', "'\~ ", ~'. " /' ~nd. Acade~ies." said Act being Chapter 1'76 of the ,Laws of.t87S~ :do·h~re,b1~ ',.,.,.~ .!: ' 'certify as follows: . .. ',' t J • ' .: '. • . FIR ST.-The corporate name of the proposed 1nstitution shall be: H The National Conservatory of Music of- America." (NOTE-;-A~t!!re_d~o!l .. p~opos,al of Mr. Andrew Carnegie.) . . - r • SECOND.-,-The names of the persons pr9Posed for the ·first Ttus~ees a~e t 1 '" • .. 'i.' I \.l. .. .... J Mr. AUGUST BELMONT, Mr. ANDREW CARNEGIE, Mr. PARKE GODWIN, ' ;... .. ~ .~IIrs. AUGUST BELMONT, Mrs'. WM. T. BLODGETT, Mrs. RICfIARD IRVIN;' J unr., Mrs. FRANCIS B. THURBER, Mrs. THOMAS W. WARD, Hon. W .. . R:GRACE, Maypr 9! ~t;w York, Mr. HENRY G." MARQU"AND •. ~"'.! ,;. . . '" _) I .,. , #. • ' THIRD.-The obj~ct o{ ~a~~'cotporati~~' shall'b~ to io~nd, endow -and main .. I lain a Musical Academy within the State of New 'York;' for the education :;,I persons in the lower and higher branches of music. 1 , .. ) . ... ~ . ' .. ' ~. • ~ 4 ~. I .: : t I I i t, • I' " . ',1, FOURTH.-The name of the City" in which it is proI>osed, tO, locate sa.id ,cQr. · 1 ~ '~" . .... p~ratioI\ is the City of New York. !' . .', . ~ , ,.,;' ,'.,' ' IN WITNESS WHEREOF, we have hereunto signed Ol,Jr nam.es; .. ~ . .", \' :.",. W. R. GRACE, New York City. . AUGUST BELMONT, New York City. \V. K. VANDERBILT, New York City, HENRY G. MARQUAND, New York City, PARKE GODWIN, New York City. ANDREW CARNEGIE, New York City. RICHARD IRVIN, J unr., New York City, JOSEPH W. DREXEL, New York City. WILLIAM G .. CHOATE, New York City. THEODORE THOMAS, New York City. JESSE SELIGMAN, New York City. F. B, THURBER, New York City. These signat':lres were all duly acknowledged before Theodore Clarksoll, Notary Public of the City and County of New YO.rk. ~ \ "0 ~ ' . , ss ·· . S T ATE OF ·NEW· YORK ' .-.} . ,_ ... : .... City and County of ~ ew, York, ." - 244 .J .1 ,., .... .~--- I, PATRICK KEENAN, Clerk of the said City .and County, and Clerk of the Supreme Court of said St~te for said County, do. certify that I have compar,ed the preceding with the originaL Cer.t.ifi~ate of Incorpo~ation on file in mi.office" .and that the same is ' a correct transcript therefrom and of the' whole of such' .. ' t I 'f I -?riginal. . ' (Endorsed)-Filed arid rec,Orded 19th September l 18.8S. .. - --- ,....., IN WITNESS .WH;ERE9F, I have hereunto subscribed my name and affixed .,rSEALl my' official seal, this I9t~ day of September, 18~5. , ' ~ , PATRICK KEENAN" , Clerk. STATE OF NEW YORK, } Qffice of the Secretary of State, ,~s.! . ' ... , .,. I have compared the preceding with the original Certificate of Incorporation ~. " and ~~~n~~led&,ment. thereto·a.n~exed, filed .and. )·~corded· in ~his.omce.o'n the , - . .. . ' " . ~ , ~. . l. : , .• . : _ _ ! . ... , .... I. • '. * _ .. _ ..... . ~. ... • .... -- : ~ " •. ~ .. -- a' - .. ' ....., to ..... III •• !,' j ,.'. .' ' , . r ! . ~ , \ :,' : I " "i I I , tf', \ 1 ,';, I'\J i, ~ !.:~ I 'I' I- • CJ " , ' I' . 'I t ,I.: I ~ I '. , \ II f 't " II , , " " " , t , @-,//) . / /J/l/ / // r //1(' ~ //,~H;/('/I~ ( / / /;"I:~ 1'1/1/ - '//1/'/'71';;'//// /1:; :I ~(1A1" . C:h/l/,,/,/;,/Ol . hk,/,/ r ~/II~I'V- //£, I/>.J / /r N /1 r/t 7// h'r' ,o;;;u:n;rm. liit/'I/rl / r;;'/l.Jo'/v/~7 7-~d.)I;; /'7"11''./11£ ,/il't'.,1NI'I" '/.'yN,FnJ'rrr:7/l'w/ -2// I:H~/ O '>"llliN/, (/""1"1111,/, /7,(f~~~~?7, / / / "/1 ./ . '.,'J. • ~.' \ 245 ~ . \ , 0 I , I ' ( --:- , I '" I, " I I J' •• " ., I, , , , " I ~ , . ,;; I ( .I I' , " ' .. '. :' " , I " " f I , l't 246 OF ~mttica. ~~t1YcI4.-11.J.:i-&~/"~,,~v.'!f.~~"~ff of dUr.tJDtt1l.Jl'/ut.~.~ .. .in consideration of my being admitted as a Student to the Conservatory and receiving free instruction therefrom, hereby agree as follows, vzz.: (I) To observe. under penalty of summary dismissal, all present and future Rules a~d Regulations of the Con servatory; and to attend, under the same penalty, all lessons, rehearsals, and practices to which I may be assigned, unless prevented from so doing by illness duly certified, or excused by the proper officer. (2) To place 'my services, if so required, at the disposal of the AMERICAN OPERA COMPANY, LtMITED, or the NATIONAL OPERA COMPANY, LIMITED, their several successors and assigns, for a period not exceeding ... ~ ... ye~rs from the termination of my studies in the Conservatory; and if either of the said companies elect to employ me, to accept for such services whatever salary may be mutually fixed and agreed upon by and between the Company employing me as aforesaid, and the Conservatory; and to make a contract to the above effect, with either of the said Opera Com panies, its successors and assigns, subject to the usual Rules and Regulations then ordinarily imposed by such Company in the case of artists of like professional standing. (3) To pay to the Conservatory, upon the termination of my studies, or upon my connection with the Conservatory being otherwise severed, and for the purpose of enabling it to continue its Educational Work, one quarter of all monies in excess of $1,000 a year-taking each year by itself-which shall accrue to me in remuneration for musical services of , any sort during a period of.~ .. ~ .... years from the date of my graduation or other severance, as aforesaid, of my connection with the Conservatory. (4) To pay to the Conservatory all monies due by me under the preceding section immediately upon the said )nonies being by me received, and to make a written statement to the Conservatory every three months during the aforesai.d period of.. ~.~ ..... year5, setting forth in detail the whole of my professional engagements and the compensation accnling to me thereunder . .... .................................................................................... -:-:.,... .. __ .""' .. '-'--........ .............................................................................................................. . ~ll iOOXiiuess ~lt.er.e.otf I have hereunto y~ vl,;.,/lday oLljJ~. I8y-.' set my hand and seal, this, • _4 •••••••••••••••••• _ ............ . ... ............. , ............................................ ~_. _ ____ •• _ • •• • _ ._. ~lt.e ab.oxr.e tntm.ettf .: ......... _f ..... ~ ...... ~ .. ~ __ ... ~ ............................................................... . having duly signed the present agreement, is, in consideration thereof, hereby ad mitted as a Student in the National Conservatory of Music of America. ~!l _ ...... .. ~Uh ..... .!l ... ~t/v.I.~ __ -.. Secretary. " . r·'·-··...-·---.;;=""""= ....... ...;;.:.:.:-::;..:.:----~-· -' -'-~-----~ ...... ---~--.---..----~~ The National Conservatory of Music . OF AMERICA, Nos. 126 & 128 East 17th Street, NEW YORK. OFFICERS: President, JEANNETTE M. THURBER. Treasurer, RICHARD IRVIN, Jr. Secretary, CHAS. INSLEE PARDEE, A. M. INCORPORATORS: MRS. AUGUST BELMONT, MRS. RICHARD IRVIN, JR., MRS. WM. T. BLODGETT, MRS. F. B. THURBER, MRS. THOMAS W. WARD, AUGUST BELMONT, RICHARD IRVIN, JR., ANDREW CARNEGIE, HENRY G. MARQUAND, WILLIAM G. CHOATE, JESSE SELIGMAN, tJOSEPH W. DREXEL, THEODORE THOMAS. Q PARKE GODWIN, FRANCIS B. THURBER, WILLIAM R. GRACE, WILLIAM K. VANDERBILT. Founded for the benefit of Musical Talent in the United States, and conferring its benefits free upon all applicants sufficiently gifted to warrant the prosecution of a thorough course of studies and unable to pay for the same; and upon others of the requisite aptitude on the payment of a small fee. THE COURSE Embraces, as that of all Europen Conservatories of note, instruction in Singing, operatic and miscellaneous, Solfes-gio, Stage Deportmeut, Elocution, Piano, Violin, 'Cello, Harmony, Counter point and CompositIon, Fencing, Italian, History of Mugic, Chorus and Orchestral Classes, etc. The LIST OF PROFESSORS Includes Monsieur Theophile M anoury, Principal of Vocal Department, Mrs. Ashforth, Mr. Christian Fritgch: Messrs. Frencelli, Pizzareno, Dnlcken and Perrot, Messrs. Klein and Finck, Mr. Rafael Joseffy, Mi sses Pinney, Margulies and Comstock, Messrs. Huneker and \\Tinkler, Mr. Leopold Lichtenberg, Mr. Victor Herbert, Mr. W . V. Holt, Messrs. Senae and Bibeyran, Signor Cianelli. Children's classes ill Solfeggio are held bi-weekly; Mr. F. van der Stucken, Chorus Master and Leader of the Orchestra holds weekly rehearsals. THE NATION AL CONS ERVA TORY IS THE ONLY MUSICAL INSTITUTE In America in which the ground work of a thorough musical education is laid, and the structure afterward carried to cOlllJ;lletion. Its professors have been appointed without consideration of expense and wholly on their merits and reputatlon, and they form an ADMIRABLE FACULTY With no end in view but the impartment of knowledge and the consequent elevation of the public taste, with no other revenue than that contributed by lovers of music and the very small returns derived from the nominal tuition chaT~ed, and with no contribution whatever from talented candi da tes for admission unable to pay for hi gh cl ass tuition, it is believed that't'lie National Conservatory addresses itself to all patriotic and music loving Americans as a NATIONAL ENTERPRISE Of the utmost importance to the artistic future of the land. Tlte Sell/i·A 1znttal Erztra1tce Exa1lti1lations will be held at 128 East 17th Street, on the following days: VO ICE , Monday, January 6th, 1890, from 10 to 12 A. M., 2 to 5 and 8 to 10 P. M. PIANO, Tuesday, January 7th, from 10 to 12 A. M. and 2 to 5 P. M. VIOLIN and 'CELLO, Wednesday. January 8th. from 2 to 5 and 8 to 10 P. M. CHORUS, Wednesday Evening, J anuary 8th, from 8 to 10 o'clock. ORCHEST RA, Saturday Evening, J a nuary lIth, from 8 to 10 o'clock. All communications to eRAS. lNSLE Y PAR.DEE, A. M., See'y, t Deceased. I26 6' 128 E. 17th St., NEW YORK. -t ~'''''~ ,f;~; ... _"""" .. A\t~ ! . . ."J " .... \ ~ I : .- I .. 5 ~l.1·'. ; , l· I, I; " /1 '! I ~ 247 '. - \ f (_. o . f • , , " . / :' , , \ I ... " t, c , " '. /I' :~ I , ' I, " I .. " ", " , , , ,. I t .. 1 " '., I , 'I f. 1 I 1 I t ,'1 1 ; I '10 ' I I 1·1 I , .j I ." ,I. 248 [PUBLIC-No. 159.] An act to incorporate the National Conserva.tory of Music of America. Be it enacted by the the Senate and House of Representatives of the United States of America in Congress assembled, That Jeannette M. Thurber, William G. Choate, Chauncey M. Depew, Abram S. Hewitt, Frank R. Lawrence, of the State of New York; William Pinckney Whyte, Enoch Pratt, of Maryland; Fitz Hugh Lee, William H. Payne, of Virginia; Olive Risley Seward, John Hay, S. P. Langley, I Anthony Pollock, C. R. P. Rodgers, John M. Schofield, of the Dis trict of Columbia, and such others as may be associated with them, are hereby constituted a body politic and corporate by the name National Conservatory of Music of America, with perpetual succes sion, with power to sue and be sued, complain and defend in any court of law or equity, to make and use a common seal and alter the same at pleasure; to acquire, ' take by devise, bequest, or otherwise, hold, purchase, and convey such real and personal estate as shall be required for the purposes of its incorporation; to appoint such officers and agents as the business of the corporation shall require, and to make by-laws not inconsistent with any law of the United States for the admission and qualification of members, the management of its property, and the regulation of its affairs. Said corporation is hereby empowered to found, establish, and maintain a national conserva- ' tory of music within the District of Columbia for the education of ' citizens of the United States and such other persons as the truste~s may deem proper in all the branches of music. The said corpora tion shall have the power to grant and ' confer diplomas and the de gree of doctor of music or other honorary degrees. SEC. 2. The power to alter, amend ' or repeal this act, is hereby re served. Approved, March 3, 1891. [PUBLIC-No. 376--66TH CONGRESS.] [8.1551.] "\.. '~n Act To amend a.n Act approved March 3, 1891, incorporating the National Conservatory of Music of America. Be it enacted by the Senate andH ouse of Representatives of the United States of America in Congress assembled, That the Act of Congress approved March 3, 1891, constituting the persons therein named a body politic and corporate by the name National Conservatory of \ Music of America, is hereby amended by substituting the names of Henry White, George Peabody Eustis, Charles D. Walcott, Mary Harrison McKee, Anna Cochran Ewing, Lillia Babbitt Hyde, Helen Hartley Jenkins, Dorothy Whitney Straight, Jeannette M. Thurber, Thomas Ewing, George McAneny, and Ernest M. Stires in place of Abram S. Hewitt, Frank R. Lawrence, William Pinckney Whyte, , Enoch Pratt, Fitz Hugh Lee, William H. Payne, Olive Risley Seward, John Hay, S. P. Langley, Anthony Pollock, C. R. P. Rodgers, and John M. Scofield, and that said National Conservatory of Music of America may establish and maintain branches outside the District of Columbia. SEC. 2. That the power to alter, amend, or repeal this Act is hereby reserved. Approved, March 4, 1921. " \249 . • 0. ' ,.V ' 250 . · 251 , ) . . ~ ; " ~ l . ) i ' . • I . . . 252 . I \ '-~., ___ .. __ ~~-~"P'~. . ..... .J ....... _____ ~ ___ _;::;::::: __ --, ___ _ · 253 . , ~ ..... ! - \ . ..., , ./ . (/' . \ i-. . .'. . 'J - _ ." ,It ~ ... ~r----;'1:\ ..... . , _ . ~ .. "'~ • ,' . . _.~ ." .. .... - . 1_--.. ~., , - .... .... _ . /' 255 fiE : Contract betw~an National 'bonsa~atorY of Music of America (NC':1A) and Antonin Dvorak of Prague' -Co'nments and"Alterat1ono. " Translationl H.K.Forell.· 1964 Paragraph I: " Dr. Antonin Dvorak' does not accept tho paragraph in ,this form, but wishes to have paid him in the Union Bank of Praguo before his voyage,' one half of his yearly salary, that is, t,ho sum of ~>7 , 500.; (and to rGc~ive) b.!'-fu)~~" the other half' of the :.t. l.5,ooO in mont~y instalments, ~ September 23, 1892 to April 23 , 1893. Moreover, the same shall apply to the~~hool yea.r' 1893-1894. '.~ i Paragraph II: Dr. Antonin Dvorak wishes to divide his dally three hours or instruc tion in the follovdng fashions . Honday: two hours in preparation of the students for performances and concerts of' the orchestra; one hour~ f or ' adr,linistration. Tuesday: Three hours for tho instraction only of talented. students in composition ani instrunentation. . ~ednesday and Fridn;y;' the same as Monday • . , Thursday and Saturday& the same as Tuesday. ' The vlorda "in other branches of music", also, "which ,vlll be demanded or you It a.re not ace eptable • ' The school year ohall begin Septembe~ 23 and, continue to Th~23, and the period from May 23 to September 22 shall remain to . the uninhibited free dinporo.tion of Dr. ~ A. D., so that he may always spend this time in a.ctivities unhindered by the . conditions or this contract. Paragraph III: Accepted with the condition that the six ooncerts within this period ".rill. have been given by the 1st or May" and that during the Porioo' of the Comments & Alto rat ions re NCr~ Contract with Dr., Dvorak ' 256 page 2 World Exhibition in Chicago, none of , these concerts will be performed in / , " ' Chicago. Outside or travel and hotal oxpenses, should Dr., Antonin Dvorak have to direct a concert elsGwhere than in NOVi York, a carriage shall be provided for him, o'r he shall be reimbursed for the expanse of SG.11l8 e' I, , _ ,,:' "I Paragraph IV : , t " t /' Shall be deleted. • 'I Paracraph V; Sho:.ll be wordGd as f ollol S : "The program of at least one of these concorts S la1 consist entirely of the' works of Antonin Dvora1t, and shall ',·· ". be ar-.canged by him." . , fnraeraph VI : Shall b doleted. (The rules of the NOMA shall be laid before Dr., Antonin Dvora.k and it shall be left to him by which of these 'he can abide and by which he cannot.) Paraeraph VII: I'" t: I Thes~ conditi,ons s~all only be in effoct during the eight months ' of the C 1001 year and s hall not be valid during t he period Dr. Antonin Dvorak has r'0~crved for his 0 ... ·, tree aotion and shall (there:ro~') not be in effect from ~ay 23 t hrough flOptombe r 22 or each school year.' (Both school years). Paragraph VIII: Accepted undor the same conditions as Paragraph VII. I. , I Cmnnents & Alterati'ons re NCMA Contraot ,vi til Dr~\ Dv-orak , . , 257 page 3,f ,Paragraph IX': " "" " ; ,\ ,' , ,' Accepted except for the unolear final sentence I " ••• and that Antonin, ( , •. 1 ' • '/ ' J • ' •• , .j"! Paragraph X : . I . ' ; Shall be altered. ,InGtec.d , of a "predate nnined appropriate \reduction '. · · r · , of salary in caso ' Or non-fulf'illrnent Of ' dutios, more exac~ conditions s~l . bo established. Dr. Antonin Dvorak reserves to himself t;h~ right to give, three months' notico of termination of his contract in caGe the climate should not agree ,d.th him. In the evant t,hat Dr. A. D. cannot bear the ~ climato" he must prove this via a physicianfs certificate. The term ·"s1ck ', ' , , I ". leave" as emplo:vod in Paragraph X shall be rai~od from tour weeks to ei~ht 'weeks. . Parag'raph XI: Not accopted. f.aragraph XII:' Not accepted. Pa.ragraph ~' I ' I , I " \ I ' , " . , .' Ins·icad of the proposed referree in tIns parag~aph .. tbe arbitration (judgoment) of any d~spute Wdall .bG Tnadeby' (laid before) :the Kaiserlich Kocniglichen Aust~an Consulato. 'Aside from this provision" the \paragraph is accepted. ,1:-~-~\ . .~~.-."I Parap'raph XIV.: oj r • I , The total costs of the execution of this contract shall be borne bV the , \ ! ational Concervatory of Music ot America • . 258 I' • I, Co:nments &. Alterations re NCMA Contract ~dth Dr~ Dvorak page 4 Paragraph XV: .' ,I ., ,'. The contract 'Shall be drawn up with two originals, and each party , I I I shall receive one original and one COpy.iS- Paragraph XVI: The Na.tional Conservator"J of Music shall be obliga.ted to reimburse to , I " Dr. Antollin Dvorak the 'cost of' the' Bt'aamship v~Yaga_ firot cla~s;' both w~ys, I' .. for six adults (or threo first class cabins). and the choice of the port of departura shall be left to Dr. Antonin Dvorak. I I I . -/ ,* The translation of the comment on Paragraph XV is an eduoated 'guess. Very" I le~al terminology. I Itt • • , ", I '" - - --- I . - --- ..•.. • " . ,. ... ~. -.-~ '~'P-----. - -... .... ;: .. . .. ---- -- I r..:::'" l~ . 259 ..). , ' .. .. ... ...: ..... ~ ... . ", ' . l' \. . • '., t 1 ' " ,', . '" ;260 .' " '. "':' <,: ' ~ ',, :, .. : i. ' I • ' I • ~-.... ... ... , .... - ----. ............. . .. ..... -- _ . ..... ... .. .. ... _ ..... . _.' .... "-.. .-.--.------.:-~ ..... - ' ... ' .... .. I , ·~,~~t~stg~~¢~r(~lt{ "'ct~(~/I,?~ . . .. ::;. , ' ' I/w ' \ cUt/lf .ttl " 1)1'11'/ , . /1I,~~ucM.b. ~I.! ~w1J cuu;I/.~ty, ~ rind ~r./ltJ{;f/lli . , Jh{i' .//~ll./J'rut~ ' &fJrlJt»Il/{t/tJMI oj ~.i/UJWt)-f' v!nwucaJ / a/ {;'y'~tJ::oIJuW)+' /k. p.u'/-I~ d.,.",e-l/ .· ., .... . ," / I J." G~ " '~J A .::1 ' I , ", .' c./ Y)'lt{/llJ J,-"//Oi,(l,-/v --L,/ '4a7'/-lU /(J;ft4'ltuJI/ .,I'«,4#£.«.,I) " I. -0-t''.!:/tt rleV Ttl- I/w . -',') //. ~ ./ ' . /' . ~ J ' 'I nt€/-ru~I/~II'-';-7t-t.,idJ d-Ol4/ fJ-/-'~~.e; ... ~.~/Je.V tJ"1tt. +,,'/,,#PU-·CfAA,·ol-/ ~7·/"r ., " . ·/tVI.,.td~, t>UWI./ '1w'tdy j:,tH (?//U/ ,,~ "cda""llr~fov a/~' ,~ {!;-tt4~V tY' //'.1'/ ?1(",J,1'40~ .,(y I'/-U¥' ~'r:u.Otr·ct4AI r!·tlu) '" " ~4l-wb /~ Iff /-k ~,,~ /le-u.u-/~ ~0€cb ~ k tie/ ' , . /wu:V ~~ ,n·-.-. .... 1bY /~,;alkl.) ~ "U<. .. ~ ;-/t.L. ~. tJ/ .w_.~, .. :c "~(~t::UMJIJ ~" ·hu,./;t,.cwdJ cU~/CIAd ~ ,/~ ~ 14th -·~1~-.1-~). ! " yeca d tla&>t7 /"6- w/ dL./~edJ . h~ //¢ ?t.-~-<-', ' t'/ ,../u/ ,,,a..J. . 1 :'" jvdvly .'/ ,t'/w A1--€.~.ducL.' rwJ· £.t-It.d/ I'~ ·/l.e~~~ .. .4~fh..;A, o-/-/u/ /Jt1-JW,?-~", 1/'~ /lanA. ;/ ~arfM/ k/~/i .de~I:U4.LI I \/r-a..ru.uc.ro , euu>V ,I'M "'U'#~<-d/ ~ "I '//tv j~:, ;/U>V ·~''14.1~i' I , , ~ ~~ /' I ' f' ' e, a I i I , ,~<.a-W , .. 4l?l,f..-dMj 'HT (q" It~oll Itr '~'-U'/ dC(,u;>(; j1.-()w,,/ lit-Au ~~~I'~e>f! ' \ '_ .. j ' . -- , • f j. '/.1 'I ,J' • I .. /-u:vw 'L,!F~ or.f7'vr .~U'f1-·rotL1-,.t4r"" ./1't:'f/tlc(·P~:J "·I-z.-e-rvl,t£y , -It-f. ~a:,t'n--If~(Y " .. lli..£--!,,·):V1 ~f' fl.{,-t_~) ?}~I/I-I-/U1 11.a~~'l/t/r1 /rr- k . 'h·IC(.d~~ " "" '/' y./..~ t-:~~'~~ ·lw~/+I .. Uot duy "/. J,/"kH-d'<'1I /'1#! '/-h_t"eH",,~ ajfil:/'ii,,'Jw-t; '} . . i ,()i.UA)(/1·~7 /-r--vr mu.d/ ~. C(Jl·-£/~~u(_CI I'~ I'h·a.l- .da.k,,' -e·~/d ~~.b \ : : ,'! l,o/tt.Je.uAI r/t~ d"'j r/ {r.~; /;..«. ~,/,~~ ay:M' hm.t.d1.Ld- .' ', / ; CJ--UoV .-'H4;"'lI!.ly I-/VU(,; -t~Yf..L.-f/t/ rl-w ~/:u-tL.. "",k to&JU,Ot y;.;"·'·lf€~"'~ I · ,". ~~y. 4vdt /i.av-v ~ /'U)l-l.Ob l;(h-t.~ &14 .~r ~h iJ-Ce,'frf""d,/ ... ' \,1~ -dcd~1f /-/lb rflNUU'/ h-~c /lCU'd ,H" Cll·· .. b '~Cffiq 4..~ 'W-- /1t" /·IA,'{.(dJL~"~ e.,ty"",-""·""'lX.~!I'U'-'I'" /t.«"Ia.ft~J' .- j' , '1~l-l'lf.fift/ ./"./~ ~1,1ftl;f.~(/ IA.e .. '/t';tll tf:dU~/t., ~a-1I"~teJ'~N Ir Ie. ~e I " , . . , I , r , .. . . : . ...... ~ '" _ _ I •• .. . . ,_,,,-,,,-~,,,, I." ___ .. . .. _ . .... _.. • .i. u • • t. "- --. . .. . - . ,., { • :. I .' .- • '. I' 261 t1-'n· ,t-/~ Aetell,I1 Y;; UdJ r;tou/ ~I cl'<.1'/~ lJJze-rh~"'tdCUtd; ufl'd /ut-IUJtuoi/ otHdI 1UJuhl /hUb Chyob /1'-~h1/H~«LJ fen-rt-I'I~ ~e; , , . tJ..I,·kl .1/tR. ~, t/J..W 4a£CXMI (b /u he.CVWJ~ 1-/ Me/ fL/f/(X/.Wt-tCleJ ,-",. I ;1: ~ i {PtJ-/..ulYt-vOlltJlVl/ (}J ~/'L-~ cu-wt ·'6h"'t-~. . I !I (If) fh- ·· 1 ,;/..<{/ /l'/4 .~(1-&-Cl.'/~t.·l/~rv ott-c/z..(.4-'7 -eo..cI/.; ~i/il' I -)J··t~/./vlh.\J 11.e~1"l't.. 1-h.~1 ,Ie-tl#t.-/y f/~~d) oUJt.-,/ -t'-f c/"jl-k--ndie-v ItT ;'-/iff t ./-u'C-l-t-/'i r/i.t-1d riot.tl (Jo-/ l' Ita-tl ~tJ-/t-t" I ' l- .t." ~( • v"lJkI!ll'...e 1t:;,.C. t l... -(j (!~~t-yl-l! :(f-IA..- -e ol ~ ol'o'v'y t. .. :c. e,/.Co,*_'I/ ~ ~ ,Lr;-- ,: ~:k ./~t.~. {)l.~/iprdPt'N<'.c ,.(.h..'P'h .. /hl 4-tC(.1-t.<~1 .Icd~ . . ' I,' . i:'J., .' , 't. . FlJ ~~./..t.I}}/(lr~:I:;\( ( tYtvr,. /I.~',a" /p-' /L(/' q(..V~H' II'" ~;;"('I-rlCJU¥-f ~.It.;"t/ I / t ,,, f'-1·1-1 1 " 1 J / / . • . (t .• ".!,.--:' ,.'/ : . . t>-/ .I~~'; ;Y,i{:'i~) t-~k IM.' rlu jl e.1/PI'})Z(;l(.Hc.£.d Oi-.-ld/ I "':l', . . , .. . ,1 'I·' , . ___ ~. "~I_&-__ ·-· _ .,_ J-.. ............. .. ,_ .. __ , __ ~ (" I t • 262 ., _ ~_.~ ~. _ _ _ ... .. . u_._ ... _ .. ..... _ ~=~4 :;./~ v_~ /vvy ;~~~4~j t . , ." ~~~y ~ a'/t'(:,/~CJH&, .~~~ r ' ~F~;c#c/ -O?/~~~#,,;,/ , ;;;1~4'a'''~.ce/~ 4 a~-ia'if/hN6'~/./~t~~,k-~z-/ --ck.d~/ ,J --r./~~ /car:yrcr/ : J-k ~e'//~ -~e--~U# ;1r .k k~//.-p?V~#~ _____ M?~/U~~/~ ~~/ c!t!?/r~;'#/ d~~ ~/fa-//?4P~~~n #-/£ ,?//d/ -/r-~,,/'i?/ ~~.0 ~Jttf, Jk dec ;;4;eaJ kh -n:""'~r-e-d ~v ~ I .-V~.I,Iu? ·-;/7ld /~ ne~ ..a;../ ~C7/ ~//~/ L ,7~ ~k~"./ ~eUd ~ k ~~'d, ;.;'" d Ii , -·-dd-/N~ ~n<4!-;N4Z&b--a~ .e:r~ ~.t:Jr.t{~y. i l I I J. ~(~ U i·;, 'DU~&"a'I?Y/~r~d/~/_F;V ~#cv ____ /W~' ~/.k~~.Y¥~ 4N&$hpN/'/ & ~ ;?~? /4:4&" 'I ~a.t-/ dk//! . ...--<'~,N~./~,/ ~/tt~£/U~//dfr.A--"~ &J~.q# __ a~ -he ,,-//Iay .--u. /u;?aUd .-//~/ :c~~!Y .Je"~.~ ~c/c-~ .t/V,I'~b?~&.-;Y~-I- _ a;:; ... a/fe?/.e_~~~a;£. $:/£/~~d ~--//~ ~/?.c-e'4~ .. ~;/ ~ I ~~&£ ~/ /~ /aMYr/~/W /at/.fU£-?r'l& il ':I ;;4'~-/h",:,' NIl)' f~?'~ UX'.e'e'dA,,; ~aM -#r-//4r~ ",,t;.n#J I! .. <7-//'/ /,;{e-t9/C;(Cd~d ~//aff.N /~~~//f /-ra,,£'~/ at"C? 4/( ~& dJNC8~'? -~k~~ £.c/-~#t rhwz-4;/d~#-v .Jd4~,/;, 1 ---k /-~ ~~e-~ r~' ~,H!~?J/l-C? /ar-/ ~~A a/-~~/o # !fe .. ~~t!/Tl-'-_ ,1~;~' ~/;:;('.r ~/Af -n cH7 --if£v t!i:';jr -/;t /~ tk/~k/' --,/;{c.k.d --~ ·/k/ -car~/p-~/-/nr --~/~,,//#A;dZ -.~ ~~;n,~i!" GA:~t?"-... p/¢w/y --d -#/;r.e--~U/~J/~-./~~ ~~t!~ i Y;~?i~~ .k.c£~~ /&CY.' ~~ d:r/~,y. #~ ~c~.;/ /d/y JI ",~-/£e . . de~4?/~/ //~z--/ ~A"~e -~ -"?7~~f/ "'?-c~/~~c-'/a~ I ~UZ~/ e£,c~~~te-:/£v/~ /;~? ~;r ~,,/ ,& .d~# ~ -&:--/.?h/a/·k e'~//~/ ~~ /c«d' £,j /hd~'Co:.:;y _~/// /~~/. _-Ur~6H"'CJ -pfi ,C"W4P'o/f;'~P ~~~-~ a< ... ,/ dWr? ",d~;.,.;/e<,,/ I .--u/,,# t?' .-C.a:-/·I('~~-• ..,e. -?¥'" .,.u~",Nh~t.d~/ /& -?;//-~J _~·/~~a/..I.~/ I: .~ £;~l-' ~'~I -h~~-~J7' e'/L~ r~~?d ~#d /t~L~C~_ez'.t;l·/e, ./h/),- I, W -I~",*."'/ ';I- Ar.;Y'.. &'1' r~4-/."fa.;H ~k;,,-~~./_'-:;'-. ~ /~~/.t-~/CC-~""'I-"~~~&~//{ /4 -o'«('d ~'U:~/~/: J6 ?---r-ra~/l-/n~.' ', :\ A Z./.. c''''7 ,. r,Nf ,/' /4 Jde';/' t1:uoe-.4 .4LrLz.,'=-~u.t~~ ... ~;i -r'<6'~ " a; .. ~~.k/ 7 ,/4, ,/ae/ 7 4 !-1' ,~qr; -JeO?/,~vv!:1 _/a-/~ A7~/Y k ez:.u«~d cy ~;"i'-/. ! ~-~,~ 4?zuA,.cr/7jr r~. / / -'4;1.·--4':"~I~/ ;tl¢~~ ~~~ ;h~ ~~-1'~~ ././ • ./ / fi:7 / . .J / ./ /' /lL---.da~a ~-Le.~,.ur~a~;lt:.C/ -yca-'v rec?c.-"'~· e:T/ A ~zat5l-· ~-;Y/ ----~(c'.ed -~-c-~£:.~ r~ '~y '7 ;-;/Z.-1:..~?t/k ~~ -.d-d# /c~?Z/­ dw/,,!;t,c-·c-k-/~;l," 4-r~ ~n.~..vp.ky ~~ .. ~, J~/~ft/ .-~? ~f~Z~.y -~~~ /~.,-?--. 'l~ a-u/o~~r~~~rr//­ -~~ ;;na-7 :7 ./~-r: u ,-/-~~~ r~l!pr ~7 /~ ~(TL~ ;;71bJ~;'d 'Per/-#?7 0:i;;'P'~?r'tI?,J/.k ~~~ .~;e-.jtY~~ ____ /~~h~U"C4., ~/c/ .~:n-/ C--1' /4 d~~/ /d~.f' --' d ;;;{w"t /aif.' ~/i -r;~.!-4/ -~ -dr",,;'/ /r~t"-7 / -/k' ;,r{.i#-;?'fau/&<~'f6_ /t//c.?;nd. c~n/ /7 ~/;,v P'/-?y __ C;P:dC- -k -._vc~;/ ra-e-/y~ -/~ -de'c-?J/d ;hceb./ -/.6 ;h U~6~ / 4-U-/ ~L)I/,;C~ ~~~ _,,~y Ad/,I~e-b k -~--k;~~ ~/_/. ahn/? hcd ~. J/~ -4// -k--/~ C~h!~~;;N/ --~.;/.&,. #d// ;;A-¢v>f~~~~",.LI -;7czz'/ k C~c/ ~&/,1C!/ 4:~~~/ p~ .-~ -7' ~£~ d;u. -~ --e:.t'/cLY h.a~;tC/. - ;/tt' fJ,4&/ t?f"lee.N'I~/~//u/· _#t/f//.!'/:.-r/ k -h -ea!fa:bk/~;~ ~ £(yA':;'/ d//C?-.-r 6 V-,-,.!ce",..--&7~a:7c./ ,..e:--;z, ~~.a:k.~~ fad . -C;;"1f/UY6 ...-4 -,~d £a.c-/z -;A /'£"--1' ..-J~c~ -.-k& .-P-ntZ-~y-,t:~v ~c~ &~t:t'r - 7 -;//. .. 1£ t~ h £-fCtfyh.r/4'. 'ZY'UE?/ //:r/ d;; ~~~/Ifl?#' /.JkL# ('1;. ;;;;/c/r:"y /l,~ ·d #crt'cL ~azA;/ -;;t;,t-ek a//~/ ~ .. -?/~Cfd;;/f t't & / /~b ~~/4r~;?/'~ ~~~ -~k.J __ ~/'l#/ /A:-/--/ -/~t /k 1'3/-~C'"II/ ~ C~/7 -,d~et?-k-aI>.u-H~ -b::k~63~';.t /~ -Jr-~r-;/ /a.t'/:;'/ /k tA:-,//a?, _.~-£~ff? _./"t'-~J.r'''--/ /r -/k-' e-/~r~Ar'~~-'~ a/dr-.f'-C..--I.&?tC;&,,?-/-~:r.v e//e;.r fJ?z/ ~///-' ,t:~~-.;~ ~t r _v/f:~// k ,.,/U!)-' cj/y'1 E N 'T , made in NOw,' Yo~~, the, 28 t h d a y o f April , 1894, By and Bet~een I ;: THE NATI ONAL CONSERVATORY OF MUSIC OF A1\":RRICA, ( , a corpora- I ,. . ,t tion ) o f th o f il"' St part, and AHTO E IN DVORAK , of Prague , :1 , I, Bohemi a , o f tho second pa y~t, Wit n e sse t h : ) , " j \1 ,! ' T H T the sa id P U!.'lty of tho fil"st pal-..t hereby ar;rce s and ,contr ac ts to pa.l to the said pa rt,.' of the se cond l' part a salary at the rat: of EiGht Thousand (8,O~O) doll~s 1\ ') I, I for the pel'''io~-of six (6) .. !1o ntl1 s fran the fir st d q/ o f ',: ~ ovombcr, l,\~:i<:, to ~ e f irB t ) houX's th.r-o-o- timc8 a \':cck' f o l" in strno tion' in compos :"-cion and i n sti'1.::dcn "c..:~t i on to the rno st talented pupil~:3 only • . I I ,I 3.--And it is heI' cb;}' mutually a~eed that the said (2) l'~\.:V,' )'\}to', VI' ,. , -----. I 1 :" P ," , . I party of the second part shall not, dur:ing the 'scholastic I, I, ! t.' year tGach or ronder any , servico ei ther by Ylay of pri vute tuition or as an instructor in 2llY conservatory , school or in sti tu tion of loarning othel~ than the conservator-y or school ' of the pal'-ty of 'the f -irst part; rti os heroto and be enforcc- " I' the 'event bf' ai1~/ c1iS1!utc arising bct~,'io()n tho said parties" 'I , tho sarno shall be t o "'011);)0c1 to t11 · Au. ntl:. iC!.n Consul resi dent " I j . . I IT ,\V I '.r H E f) S OJ H E ·R E 0 F, the said ! partie s hcre.1%lto set their" names and seals th e day am il ;1 , I I ~ , " ,. I yeal'first 'a bove mont io noel. Wit ness to Si~nr~urC3: I I FACULTY 1894-95 DIRECTOR-DR. ANTONIN DVORAK. SINGING. Signor Romualdo Sapio. Mr. Christian Fritsch. Mrs. Beebe Lawton. Miss KatharineW. Evans. Miss Annie Wilson. Mr. Wilford Watters. Mr. Oscar Saenger. Mr. Harry Burleigh. OPERATIC DEPARTMENT-Mr. Anton Seidl. ORATORIO CLASS-Mrs. Beebe Lawton. PIANO. Mr. Rafael Joseffy. Miss Adele Margulies. Mr. August Fraemcke. Miss Elinor Comstock. Mr. Bruno Gortatowski. PR EPARATORY-PIANO. Miss Mabel Phipps. Miss Carrie Konigsberg. Miss Adelaide Okell. Mr. Paul Bolin. ORGAN. Mr. Samuel P. Warren. Mr. John White. HARP-Mr. John Cheshire. VIOLIN. Madame Camilla. Urso. Mr. Leopold. Lichtenberg. Mr. Juan Buitrago. Mr. Joseph Kovarik. PREPARATORY VIOLIN. Miss Josephine Emerson. Mr. Henry Klein. VIOLA-Mr. Kovarik. VIOLONCELLO. Mr. Victor Herbert. Mr. Fritz Giese. Mr. Emile Knell. CONTRABASs-Mr. Ludwig Manoly. FLUTE-Mr. Otto Oesterle. Monsieur Leon Jacquet. M. Jr. Badollet. OBOE-Mr. Arthur Trepte. CLARloNET-Mr. Richard Kohl. BASSOON-Mr. Adolph Sohst. FRENCH HORN-Mr. C.arl Pieper. CORNET-Mr. Carl Sohst. TROMBONE-Mr. Fredexick Letsch. COMPOSITIoN-Dr. Antonin Dvorak. HARMONY AND COUNTERPOINT. Mr. John White. Mr. Maurice A. Strathotte. Mr. Michael Banner. Mr. Wm. A. Fischer. HARMONY. SOLFEGGIO. Mr. Edward B. Kinney. Mrs. Clara Kom. Monsieur Joseph Pizzarello. Miss Leila La Fetra. Miss Carrie Konigsberg. CHAMBER MUSic-Mr. Leopold Lichtenberg. ORCHESTRA AND CHORus-Dr. Dvorak HISTORY OF MUSic-Mr. Henry T. Finck. DICTION-Mr. W. V. Holt. ITALIAN-Signor Pietro Cianelli. STAGE DEPORTMENT-To be selected. FENCING-Mr. R. ·Senac. '- ACCOMPANIST-Monsieur Joseph Pizzarello. 277 \. OF MUSIC OF AMERICA. 27 lowing is a specimen programme of the Conservatory Concerts, several of which take place every year. H ARLRM, Madison Hall, May 9th. PROGRAMME. I. SYMPHONY. G. Major. HAYDN a.} ADAGIO CANTABILE. b.) ANDANTE. c.) MENUETTO. d.} ALLEGRO DI MOLTO. CONSERVATORY ORCHESTRA. DR. ANTONIN DVORAK, Conductor. 2. HUNGARIAN FANTAISIE .. LlSZT MISS BERTHA VISANSKA. 3. ARIA. "Giaconda." . PONCHIELLI MR. HARRY BURLEIGH. 4. CONCERTO for Three Pianos and String Orchestra MISSES PHIPPS, DYAS, and DALLY. 5 . OVERTURE. "Preciosa." . CONSERVATORY ORCHESTRA. '" BACH WEBER ... I /, \ 278 I; I 11 ,' / I ! I l t ! / ,SSEMBLV, , February 10, Introduced by Mr. BEDELL-read once and referre\'l to committee 011 public education. AN AC.T ·, • .:< To autitorizeJhe National Conservatory of Music of America to contract with its pupils in relation to ,compensation for their instruction. The People of the . State of New York, repr6sented in Sp.nate and Assembly, do enact .a8 follow8 : Section 1. The National Conservatory of :M.usic of AmerIca is 2 hereby authorized to enter into written contracts with its pupils .' . ·3 for the payment to said corporation at such times n,nd on such ) 4 terms, as shall be mutually agreed to, of compensation for musical 5 instruction furnished or to b~ furnished to such pupils by it. 6 § 2 .. No such written contract ~hu.ll be void or voidable by renson 7 of StICh pupil, party thereto,' being at the tim~ of its ' execution, 8 within the age of twenty one years. 3. 'rhis act shu.ll take effect immediately. ' ,q ' . ',.~. 279 ~~~~ • , .. :r!~~" '<~.:;\ ... . ... ~,11o .... r "!~ •• 'I. '" • \ & , 280 THE NATIONAL CONSERVATORY OF MUSIC OF AMERICA 53 WEST 74TH STREET FOUNDED t885 BY JEANNETTE M. THURBER NEW YORK INCORPORATED IN 108!! UNDER THE LAWS 01" THE 8T .. TE 01" NEW YORK. AND CHARTJlRIlD IN 108' BY A SPECIAL ACT 01" THE CONGRESS 01" THE UNITED 8TATES. AMENDED BY ACT 01" CONc;RES8. MARCH "'TH. 18al. Estaqlished for the Thorough Education of Serious Students of Music~ and not conducted for pro.fit. EXAMINATION AND ENROLLMENT September 29th, and October 2nd and 3rd. The Forty-fourth Scholastic Year opens October 4th, 1928. ARTISTIC FACULTY Includu: ADELE MARGULIES. ROMUALDO SAPIO. LEOPOLD LICHTENBERG. AND OTHERS BRANCHES TAUGHT SINGING. PIANO. ORGAN. VIOLIN. ·CELLO. HARP. AND ALL OTHER ORCHESTRAL INSTRUMENTS. SOLP'EGGIO. THEORY. HARMONY. COUNTERPOINT. COMPOSITION. HISTORY Oil' MUSIC. CHAMBER MUSIC. ORCHESTRA AND THE ART OF CONDUCTING TERMS FOR SCHOLASTIC YEAR, OCTOBER TO JUNE: (Payable in four equal instalments in advance. No fee refunded.) For advanced Vocal or Intrumental courses, including Solfeggio and Theory of Music or Har- mony and History of M usic .......................................................................................................................................... ;..... $300.00 Intennediate Course, including Solfeggio and Theory of Music and History of Music. ............... _ 200.00 Preparatory Course, including Solfeggio and Theory of Music ............... _................................................... 150.00 Children's Course, including Piano or Violin and Solfeggio and Theory of Music ......................... _ 125.00 Theoretical Advanced Course, including Fugue and Composition ............................................................... 100.00 Evening Courses: Singing, Piano, Violin, Solfeggio and Theory of Music, Harmony .................. 150.00 Solfeggio and Theory of M usic ................................................ ..................................................................................... _ .................. ~ 60.00 No other American Conservatory of Music has had a quarter as many musical celebrities on its teaching staff. N or has any other high school of music done so much for the creatifJe side of the art as The National Conservatory of Music of America. During the three years alone that Antonin Dvorak, one of the greatest composers of his day, was its Director, it provided, besides many others, instruc tion for four young men who are now among our leading composers-Rubin Goldmark, William Arms Fisher, Harvey Worthington Loomis, Harry Rowe Shelley-as well as the country's two leading col ored musicians, Harry T. Burleigh and Will Marion Cooke. The greatest of all works of reference, the Encyclopaedia Brita"nica, savs: "The chief public institution for teaching music in the United States is the National COD servatory of Music of America, founded in New York in 1885." This testimony is corroborated by the most distinguished of French authorities on musical educa tion, Albert Lavignac, who was commissioned by the French Government to write a Dictionnairl Encyclopedique of the Paris Conservatoire. In his famous book on Musical Education he refen to various institutions, adding that "The National Conservatory of Music of America, although de pendent upon a private enterprise, comes nearer to the European establishments." Parents desiring the best instruction for their daughters or sons cannot do better than send them to a Conservatory which has secured its prominence through the co-operation of such instructors D Antonin Dvorak, Anton Seidl, Wassili Safonoff, Rafael Joseffy, Victor Herbert, James G. Huneker, Emil Paur, Camilla Urso, Adele Margulies, Leopold Lichtenberg, Leo Schulz, Samuel P. Warren, John Cheshire, Frank Van der Stucken, Bruno Oscar Klein, Max Spieker, Victor Capoul, Horatio Parker, Joseph Pizzarello, Charles Heinroth, Eugene :Dufriche, Emil Fischer, Jules Jaquet, Emy Fursch-Madi, Jacques Bouhy, Fritz Giese, Henry T. Finck, Romualdo Sapio, Theophile Manoury, lIma di M urska and many other eminent musicians. The National Conservatory of Music of America is the only school of music in the United Statu chartered by Congress. Its charter provides that: "The said corporation shall have the power to grant and confer diplomas and the degree of doctor of music or other honorary degrees." For further information address: Of:'JI'lClf OF THE SECRETARY. 53 West .74th Street, New Y~rk Cit~. N. B.-Pupill from out of town can find gi,u! homes at re4Jonable prices hy apPlyi, a,' tlu Board of Dirtctor, 01 Y. M. C. A. tma Y. W. C. A. AlIti' at·tl" olfitu'(JJ Ilu Co"urvatory. I fItItt; , LA .. ~ .. , '- I . . (. I / t .1 i I ! I ' t .\ I i . : ~, . , f ~. > •• ---.---.--:---:...,---.:.-- t5TH CONGRESS . . :. .1ST S~~SION' . \ - t • • .6 50 IN THE HOUSE OF 'REPRESENT • I 281 ,I , , ~. I, t . -/ .:, '. 1\1r. WAnSWORTIt introduc~d the tollo'\ving hi 1; which WIlS l'~£erred to the Com .. mittee on Public Buildings and Grounds and ordered to be printed 'It A ILL ,-."'" i I 'designate a building site for The National Conservatory of I 1 2 3 4 5 6 Music of America, and for other purposes. Be it enapted by the Senate and House of Representa tives of the United States of America in Congress assembled, That the Director of Public Buildings and Public Parks of the National Capital is hereby authorized ' and directed to select and set apart a suitable and appropriate site in the public grounds in the ,District· of Columbia for a building , . ,: I I 7 or buildings to be used for the corporate purposes of The . ,~ 8 9 10 11 N ati~~~:Y. ~_~_~~si?_..?LArn~i_ca}2.!!nd~d_J 885 ,----- . by Jeannette M. Thurber,. a corporation under the la.ws ~r ~---~ ..... .. _ -.. __ .~ ....... r""4 - .. of the United States: Provided, That the plans for any building or buildings to be constructed on the said eite sha:ll , . ". .., '. ', ... - . 2 282 be approved by the Director of ·Public Buildings and Public ~ 1 2 Parks of th~ National Capital and the Fine Arts Commis- 3 sion: Provided further, That no work shall be commenced . " 4 on .said building or buildings until the said National Con- -. , ~ 5 servatory of Music of America shall present satisfactory 6 evidence to the said Director of Public Buildings and Public \ 'V' 7 Parks of the National Capital that it has sufficient funds in I ·I~· hand and in prospect reasonably to insure the completion .,)1 , 8 of the proposed building or buildings: And provided further,. \j 9 J 10 That the said National Conservatory of Music of America 11 shall not have any power or authority to grant or convey 12 said lands or any portion thereof. \ I· I I 13 SEC. 2 .. , The power to alter, amend, or repeal this Act, \ ,' , , 14: is he~eby reserved. , . ~ 1 ,', ... I, I ! . ! .~ "f;. l ""~ .... ! . I k I .. I I "f of ! I· t • '0 I l I I ~: . , '0 i '.\ . • ° • I :. f I .. . , I " .. I" APPENDIX B Letters, Telegrams, and Cards Letter, ·Delibes 'to Thurber ,1889 Letter, Choate to Thurber, May 26 1890 Telegram to Thurber (Re: National Charter), March 3, 18,91 Telegram, Thurbe'r to Dvorak, ,[June ?], 1891 Letter, Littleton to Thurber, June 25, 1891 Letter"Thurber to Littleton, July 10, 1891 Letter, Thurber to DvorAk, September 3 1891 Letter, Thurber to' DVO~~k, September 17, 1891 Letter; Thurber to ,Dvotak, November 20, 1891 Letter, Thurber to Dvorak, December 29, 1891 Dvorak manuscript (Conservatory pamphlet?), January 30, 1892 Letter, Thurber to Dvorak, July 10, 1892 Card, Dvorak to Thurber, October 1, 1892 Conservatory News Notice, [1893?J Letter, Dvorak to Simrock, July 28, 1893 Letter, Dvorak to Thurber, July 29, 1893 Letter, F. B. Thurber to Choate, November 15, 1893 Letter, Thurber to Dvorak, March 17, 1894 Letter, Thurger to Dvorak, April 28 l 1894 Letter, Dvorak to Thurber, [1893-941] Letter,Thurber to Dvorak [1894?] Letter, Dvorak (Anton1.n and Anna) to Thurber August 17, 1895 . v I ' . Letter, Thurber to Dvorak, SeEtember 4, 1896 Letter, [Dvorak] to Thurber, LSeptember 4, 1896] Letter, Thurber to Dvo~ak, January 4, 1897 Telegram, Dvorak to Thurber, August 25 , 1897 Card of Acknowledgment, from Anna Dvorak, May 1904 Letter, Wadsworth to Thur.ber, February 1, 1939 Letter, Crawford to Mills, July 24, 1946 Letter" [Bayes] to M. Eisenhower, January 11, 1955 Letter ,Dennis to, Bayes,. January 25, 1955 Letter, Bayes to Garsid~, June 2.2, 1960 283 Page 284 286 287 288 289 291 293 294 295 296 297 298 299 299 300 301 302 303 304 305 306 307 309 310 311 312 313 314 315 316 317 318 .. i . t " . . . r • \. , . ..,.-" . .. ~ '. . ..... -.. ~. i f J . , .,; J f . ~~~~_~~~._~.r~ __ ~~~~~, 284 ! . : \ t j . '. I . I l , l I , : ' ! . . . , . -. ... ,. t · • f • (t.'~ .. } j . . . tt ' .... 286 " "j . .' .... ·t ,., f t .,' III • I , , , ,1 . " ,::' f ••• \:' ',, 1. "1 1 '.1:' , .. I .' j' I ,' .' f, ' ,1-,. I • ", ' •• t ',' ... . " "', ,"".' I .... ,' ',' '. . . I'" ~ ,If· .... .. ..,~ ~ .... -- ., :. - \ .. , .. ... "",. ,.,. ~~~~,-j This Company TRANSMITS and DELIVERS messages only on conditions lim1ting its liability, which have been 8.'3sented to by the sender or the following me&s.t9 Errdrs can be guarded a~ainst only by repeatin!,{ a. message back to the sending St3.tIOIl for comp..'1.riwn. and the company will not hold ilse!r liable tor errors or dell,.; b \rn.nsm1ss1on or delivery' ot Unrepcat.ed JJ.ess.'1.ges. beyond the amount ot wllil paid thtlrl-'On, nor in rmy case where the claim is not presented in Writing Within sixty <1A~~ .roer sending the message. ~ This is an UNREPEATED 1\rnSS.A.GE, and is dellvered,rJ ruestotthY'~~~el'~ed above. TBQS. T. ECKERT, Geueralll~'t /" -_.--y---- Received at L.., ~ V / l./ l/ ~ ~ ~ ...... ~ c,rC?{//l/ ~ , r / ~~/ £/L-'C/ ~--z.c- ~ ~ ~.,-....;. I . ff ..: .- '-..., 'j .- /' /~ --- :: _~ .0- ___ ._ ;: . • "_~ .. ~_"' .. "; .oJ .... --- .. ---.. ::'- N ex> "'-J ~' ... "' ......... __ ., " -" \ . ,~~~-....!..... .... --~--""'-,-.... -.-.-.... '-"-.:..-.... , -:...- '-'-'- - ..... -,-..... '-- .-...... -----.... -'- ... ,,... - -' -"...-,---------------..-....u--.------~-·i ! i .j ! I t . ~ t 1 r I f ! t 1 1 L t \" f l 1 l i l I j 1 I l I ; i I I ~ I j ~" l 1 I" ~ I I· L, 11 [,' [ . 1 ~9 "ON r: . \---: ..... ------"i'--~-~-----~----------~~:~1;~~· tTc----~-~--:--~ ., ;~~~t: ~ .-: _- .. - .'i , ( .r : r 288 .. .' ,f I,BER~ERS STREET 1 W: i ~,Qo.l/7: .. ~ ~. AAvwk-v i:-~J/4W A-~f:ll ~r.~ ~ U~ vU{.' V1 rJ.p<-. £.vt. ~ ~ ~dVl-~' ~ /wi J ~/fiA £/:/ ~ L., pU--?l ;t L/o . ~ Iv1 /ke- d ) CtVz.- 1 C~ ~ ~ ~ ",vd/9-W) M ~«/2 ~vvYLJ ~I/f ~ L~ kt/h ' i:;J- . . : . ~ dJ-va.uvv. s Ul ·· ~( . , 289 t ~ j , ' 'j - I ' . ' .... • , I , -' , • y ~ I , ,.·H" 291 , " , I I ) ':1 I I ... , t e ' t' I I ' , ,_, ~" II, " " 1\ I' , . I '0 ! '_ . . -. ,· ,Ot. 't '-. \""r I I ,"'. , ' I I , ,'"'; ',,' 1,\, i I " '". ,,', ,1,,'1 1 • I I • ....! • , , , ~c '. . ' 'I .' ',' • I I • I .. ,' • t I.' , I I f "... , "",' ....... t' "': " :, ' , ' ,: " , . . " ' . • I -~ . \' ,.: I', '. ,, ' ,,"," . i . ' I .»" , \. , . . ,. , .. ' .. ' , > • 292 , ' , ' \ ' ," 4 " ' ~ I" , • .' i .• , ft , ,' ',,' " , ':. ,",;,,:' , , ,t I, ," '. /' "f' " ( , , ,<".\/ " I' ,It ,. I , , I , . "I " I', ~ I ' , " , I fit. . , f , " I ." I I'lt I ~ I ~ , , :l'_·., ;' . .. '(~.' ::,' ! ' . . " 'j.'." ", .; , .• :, '.1 ' " , , '- , t 'v -. r •• I ",t \ " . \ " , ' " I f f , ," " , t-; " ... , , , tl I • ,..' I , . , ' , . I;'. .. j , \' •• I • I I -.. .. )', ',. , , ,. I ,~. , . '. ..' " ' " ' , I . I ~ , " ·4 i I I 1 ! 'I 1 !~, ~_u..._~""""" _____ -n.o.,,,,,,,,,,,,-,--_,,,,,,, __ ,_ ,-..... ---~--~.-.--.... - ..... - .- ..... - ..... ~---'-".-.... --...... ---.~. -~f ! i 1 1 l ·1 l I I 293 .J .1. ... \ '. '. 1- , ...... < :-") ,. /~-¥~i­ '\.~_ j"?-iJ_*- f r ' _ J.~ ~_~_ \,.....- .... ~ ~~..... /-;7,"f) I - / ~ .. IJ~ C'~-:£-.~~ -~ ,_ _t? &0.,;:;;.:.:;::::;::. ..,... E:..../~.:t-r • . • • ; ~? ~ ~. "cy'<'".i-$"<'-. -- > o z ,,/,~~'.;r . .L..-..i (. -' .... :) ,_- --r ~r~ c,9... ~: ... ..L.---. ~._~.-......-. . ;'6::.-:-~ (!'~-;j-~""'" "ON I I \ ; L \ . ... -.~".---..... --... ~--.-~--~ .......... -~~ ... ...--:--.-----,. .... __ .--,:,.----- . .• : • f .. ~ ... t . , '. I ' . ;. ~ . t I. l < "t . ./ 294 { • f . i . , I •• •• ,. I ! ' ". .. . -- L. / ,,/ . -- _. ~-. __ " •. _.w_.k_'_~ __ '_ -~-----~ r i ! L I f t 295 > ' ... s . . . J I " I 'l 1 I .1 I I , l. i '1 I 'j I 'I \ " ~ ... ~ __ <--() ,,::::.t. ../r • • I ~ - (\ I.. (.{ 'j'. ....,.--. /): (' •• :.. r:::;' c-L7.- .. .• ('4. (J~ I ,. 4 ,) /A{., ,,,;.--;J,. ()":_,,. £9 £9 l, /k ... /0. ./ J •• ,b-t,.. T,r: ,(;'~, '" .. , (f,IC ~I/,. , " . , I l.;;r_ )~i~··· - / ....... " - ( 100 ('. '-- : ~ ~ r -, ~ •• '~: J . . \/ .,- -, . I I 7.-' ol.c6...: ~~ " '"},.. -' .... <'.()" "I r ( t'. I 100 "{ t' I I I I I I . 296 J " ~ I .' 297 ,. .-~ .... ----~~ , ., <~;! r' t-"~ .~ I-t- r-~ 1-1--'"' .~ i' I-~ ~ 11 ~ f"' -,; ."1- , ~ ~l: rr ~f1 f 1 -~ .. - ~ f-- - r- .. t-- \. -. :"I ..... -- 4 1-. ' • f. ~ ~ b. " -;. r- .....,. ~~ ~ 11~~ tt-:- f- r- tw 11 t~ I . .i-- ~ .~ ~ :-~ vtw ~,.. ~. . . ~r-"'111- . .", ~~ N~ ~ H'" ::> ~r-. ~~ ( ~ .~ ~ \ . .., ·' 1 ! " I I . , .. ~ . ' •• ;",1,--,-', _.I~~ .l .- '" / o;·~f"·f~·;·-;:·· 1 ~>~,,f' ~~:.~4'!$Y:':'.""~"" , .... :...7.' A .. -.--z, ,"""-~ ·1" f~.:::~'" .... -~~-:D~.t(..j 7' .-~.. i'-;:~;..a --~._.L> 1 -,rJ~,~t:)t~ I '--- ' - --, : ~~,,~ ...... -4 .-. ' ! ! ! '. ,,' ... - (~ 1~() ... :·i) ..... ( .. ( .... 1-~tJ..~ --6;:'- / ... '1.··.,..,.i/~· C .... o:= "/- J..--. .i~ .. t 1 __ ....... , d~( (. l .. • Si-.:.:c;...-::. I (~ ~""_~=I .r} ,/.-;. f ... ~.::.-l ( ......... _ ... '--'t, /.., _ . .; ~. ,~;:; 298 .'). ," .~ , .... """,.:'; .\ . .... I r/~ v1t~'-~ 7MJ v> ~ ~-c--~. IC-vcvi-: ~ uf ~ ~ ~ ~~~ !it~~~h~~' If )fpfL, /y~~ ~~ r .r ' . ~ ; , '. , ~ ./ ~ -. ~ - -c·-r-----~~ -~-~' ... : l )( \.. r'i' ~ NATff>NAL OFFICE: 2109 Pennsylvania Avenue, WASHINu~ Ol~~ D. c. .~ THE ~ational :onservatory )f Musi • • erlCa . ( FOUNDED BY ) MRS. JEANNETTE M. THURBER. CORPORATED IN H:l85, UNDER THE LAws OF THE STATE OJ.- ' NEW YORK, AND CHAllTu.n IN 1891 BY THB CONGRESS 011' 'T'uv TT ___ _ ~, ,~ t 26 & 128 East Sevemteenth Street, t Uptown Piano Schoof, 239 Lenox Avenue, r NEW· VoR.K. '\.. . DR. ANTXONIN DVORAK. DIRECTOR. ';v " .. ~. Artistic Faculty consisting of RAFAEiL JOSEFFY. ADELE MARGULIES, LEOPOLD LICHTENBERG VIctOR CAPOUL, J~LIE L. WYMAN~ GUSTAV HINRICHS, HENRY T. FINCK, S. P. 'VARREN, JAMES G. HUNEKER, MJ..u SPICKER, LoUIS V. SAAR and others. "The Greatest Musical Good for the Greatest Number_" N j \O \0 -' I • I , " 'I, , , , '. ,. , I', . ,:.'1\ I,' .,.t , '., , I " " .; ) , r f, , " " ," . , , .- J I I I i---' .. -- - .-- ~ I g I I I , j ] ~ i 1 \ , "" ~ . " .. . . '. I , :a I ~ ~ Co) 0 I, I I: : I ! ! II •• • • • ••.. • J' .: ! : . . 1,1 - ·---:-----·---·----·.;.··--·J1 .,------..-~-- <' ~ , { " ... , .. " t ', " 304 -. I: ',' , I I 't . ', I,. 'I': , " v,;; ': . • . 1 I I i f " F I I I ' !. I I I I, ' 1'.' r I '. I {, ' i t~ .. I' I.' I" I I I ) " I, ." r' I .• " . '. J" . ....... . . I I , , ' , ~. I .. • I ' 3,O~ 1'\", .,' ::.' .', , '. .-,' ,:' , .' '1, ,I ',' t . . " '. . I " ' , " I • ... \ I , I, • I. I I • ," 1\ \ : (' . t I 'oj ,f o I, f , " . I', .. 1 ,'j . , ' . I. ' r- t • . o f : . I ' ~, " , f'-:- ': 'J •• ', ', . . . It !',i , ,-' ( " ~ , •• " \ i ll) " I 11 ., , , \ f ' ~ • • ~, . I • ' f ' I " • . ' '. o ~... .. • I • f f ' "': .' ,- ' ... , ' I '-' . I. . I "'. " I .' ::' "" ' .. ',t' " ','1', ,'. .. ... () -; ....... ~.w_ ....... __ . ___ . ____ ~_ •• ):'" ,~:~~, ~: , . . ,"'."- .... ,.-~. " .... " 306 ' " '( , ' " " i", • .' I , I ~. " ' , , " ',t "I, I I., , , ',' 11'1 "'-'I' '" , \, -",', I " t," , ,'j , , I' ~ ~ ~. ; ,I • , ' .. t, " I '~ ,. " I, " . '. '. .. ~, ~ : ". " i' I, • f " I " • < . . , . ..' . , . . _~ .. ..;w~___ . . t. • ",: "", '., o ' '~ , • • ! _. , ' " • .' " :,' ~ ....~ I "',~, ' ,', .. ", ' • I ~ J , , • ',' I • ,,'~. '. : i , : , ',,' ,,' " ,,1:".'/ t ~. • I . ~ '.. • ~ .. '"'; I .,. • " I. I ,, ' '}j" , . " , -'-~--~.~ . ~ - . ' . . .. . : f ·J · & 'I: ':' .¥' ~~'j\!' ' ~,J 'f'... . ' .'l':t /' '\ ' I ~'('~ r~.(~ .'.' '~_ ~ , , ; '\ ~ ''1 . . ,c . ~ - ,': . ~ . ,'-S ~ . '> . , , , . , . .' 308 ' , , , , .1 ~: J·n, ' '~~ ~,~ ] ~ l' ~ .. ~ ~~~: 'r(t;:~1' '. " " ~ ~. ( '" , . \':i " til J • :;- : . J ~ ~',:~-' : ~:»;,.," " i '-\~ l"! ~' " ' ~".:: .:~.: r ~\~ ~ , , I -: ' " '~f ~ I ) ,' ;~~ r' ~ ~ ~ ~ ' J ' " ," ~~ ~ , - I ~ ~~}.1 ~ ~ .~~ ~, ~ ~ ~ ,: t~ ~ ) ~ ) . " . ': : -""~ t1,~:, \'~I~ ~~ ~ ~'i i ')' ~ ,~;. f' . , I 'I , , . - , '. ~" I . . , , . . ". I ' • '. .. . • ~ • I .. , " , .' ~ " ',~" I " • : ' I. .~ I ' ... , ' . ' ' ... '. ' . , "" '", .', '! ,r " ". ! • ' . ' ...;. ~ l ~ • . ' , ' tf ". . .. " ', ' . 1 j I 'I I I ~ : . --~~. --.. .. ~ ..... )i .... ,;./:, ....... ,.... "1 (JI. ... /.. ,.",; " ,. ( . 1Lf"(,';;- r. oJ r'--..~.,.I,(~.d'.<: (~/u, ( t; ;) ... ~ ~! ~. ,........:..? 1"1 _ _ ",_. 4"'''. __ lJ.:.a. 7 - I.[J; r.!'k.'t ..... 'J.,~ ,,, ,1'. • •• ..;,v A 1/ h'::". (. ...... ~ r. .... ~. ~..;...~ ··,J J.-""1 ..... ~/'_./~-. h.".,_ ~· ....... _s I.; .(C.-Cr.::-I'_ .... /1~(L.. __ _ cfi--~----: t(.~ 1...... _ ~:..:f-.. ~---". ",, __ .-h-- _ .:..') ~h/:' lJ ."..;-.. ~IO .......r I .. wtfl,..-Nt'" '1Mtt ... ." , ...... /U;:: ... 1 .... ,,--:'/,/C ,,-''7_ .II: :v _:' .;..,,,.. ~ r.-' -..:i '/i.. 1'.:;-":;'::'" k .~I £,~ .. ~~"') d .. -,_ ... j7'~~ I~ •• l!~.~ .. .;~.,- O . ..-_--" ~ ... - ....... -.. ---.. - ............ ----- -- ..... -..-.. _ .......... _ .... -...... _-_._--- , ' ' ,' .~ ! i i t I [. ---..... ~ , , ,..,. .. .. . It .' 1'\" ,., " 'J " " I , " ' ) , I j " 11 ' " ',' • I '. , . t . .~ . , " . '~); .' .... .~ • . ' --- -_ .. _ .... '. • ~'i . .......... -.--........ ~. --. ". j, f" I I I .~ I J " I l .1 f' <9 • .,0 i ..... _..........,.-._-.. _---.-..... _--_ .. _-----,-. ~ .... . I' . -" . j . ~ ~ . " .; . .'-..... . . \ , ' ~, ; ) ,.' 311 1'" , .\ I ' \ , I f I .,' f, r I I I , , .J ~' , (-:" J " , .' " , f • f ' t '~ I, ,1 I. ~. , ' '" I \' l' • : ,I '. ' I I , t ,,',' ~-;' ;.~.; -- ... f . ~ -. - r ~. ~ < r - ---. .,., • • --.~. r ~ .-~ - ••• ~.,... .... -;:: - I .": # .; - .: •.. : .... 1 ------~-"'----------. - ----. --~- NY. Form NO.2. • ny, llte • ESTABLISH i::D, 1866. FIVE DIRECT CABLE ROUTE:S BETWEEN 189 M. ":.:1' ;.\":: "; '1 f! ... "."",;)1 J. ot 1:13nued In 1916 by the , '\ Con 8 \~ 1"'V f.. t n r l , t ;r~ -~ r: h " \J. -t r: t r "', ~.~. ~ :: !; :'. t 1 -l :. -1?3 \ r e 8 t S eve n t y - , "ninth Stree{; ,. :~';,.: / r;l:: . ':" ' . :.~ it V0 il .~." fint,) the story . of th3 f() ,L"1'it ~ ... ·)n (~f t:1~ C:)nn~.:,!":.ri~tr;:':'~J, t0f(etl~~:;" -t~th t'N0 Acts of C ,....·n r'f'Y>-:..'r. -l- 'h(:,. ""'n p r: "''''~ovea.· ',")'fr ..... 1''\ ~~ i l n ·'\" "'·r • 't)'~ rn l'.ol"C 1 :3 J '" • 1 ..-. " } r 1 .. ... \. J '-~.\. ~ , _ \. I .> 1 _ .... _ "" .J... ., ., .. "" '" ('" J. t .. -' 4 ., .04 , 1891~ r·l .. ~ t~~~ ot~1'3:r' ',)y ::-re )icl.--:n't ,:'11 :0n 0n ?"':'''(' h , 1921. fl1he eecon· . ~ll cC·,1ferreu U'\'Q~, the , ... 0nr ~rv0,tor;! "''':h~;, I'i";,.~·,:;r ·t(') lIestr-.b- . 11.9.11 '~:lt :tln.intc:\1 .. n bJ':inc"i')~ Otl"l.S:l.(l') the nl:3tl-'lct 0 : ' C olumb12 .. . It lour ~: ttentJ.on iB pf:'.rl,iculDrl~J d.irected tt) pH~e 1.) , the nr:ra rrrCT):18 entl tIe( '-;rip.:ln .2.:.- the d2. tir:nDl Con8erv[~tol,,', 8.nd to the "c ,\,'o Gon~reBsl()nal oi ..... 19 , to be found opposite pr.l l";e 3L~. It ceems ree..Gon~~.hly clef1 r the t the 'Oos1 tl 0;.... in 1vorld affr.il"~, nO"l !h~ld by the United Stntes ~,'p.rrq.Jits one in enter t[1ini.!·~ the bp.l1.ef t:l.r:.t, p.ooner or In tp-n , it n:5.11 becone the r1tlsic c,e-:'~13r o.~ .. the i·!()~ld. It is r;y op1n:1. n th¢'t the Conserva- tory (' re-0..cti V r.' ted nroyided a 81 te Here made n.val1Able tn "'" roo.' .~·~:il:l r:,n(:. fun(ls neCeG~F~j"Y for tht~ :: ~'l~ln~ and M'!lnten (·nee \ t .. 19 Conserve.tory. A'n ent.1rf~ly ne)\' "Jo!?l"·d 'of truQtees ml;-:··;.··~ b 'J n p .. . eel, repref!entln~. th{~ vn~ ~..r)11,.; .... r·r ta of th.~ country, t·!llic ":. :)O~~pC 1..1 ~ht ir. ell lnclud9 the l ;r. j O.-' :: ':,y r .nd Hinor1 tv Lend- , .. " ·.~r8. 0.1."'" +- ' ') l C"~nntA ~n(··l TIO'l clo o~ °e-r\1"'r'll"CY;#.. .r • von ex officio - .. '" - .. ." o. (".\.. ,., -t:.'\. ........ «-. loi.;..I v ..L I ~ "" 'J __ ~.., ... j "" , .j r ~ t; ;.:J ,..... .. .-'if)ll.ld you \ in. other or £ldt ~_1;iCJDl lnformp.t 1op ~ ·l\:ind ly 1 et ::,r, :n 0\1. Very R1nceroly youra , 317 THE PENNSYLVANIA STATE UNIVERSITY STATE COLLEOE : PENNSYLVANIA OI'FICI. OF THI. PJU:.SIDI.NT January 25, 1955 Mr. William R. Bayes Choate, Mitchell & Bayes Forty-one Broad Street New York 4, New York Dear Mr. Baye s: This will acknowledge, on Dr. Milton S. Eisenhower's behalf, receipt of your recent letter relating to the reactivation of a National Conservatory of Music of America. Dr. }';isenhawer appreciates your thoughtfulness in sending him the material relating to the Conservatory's history. LD:STC 2 Sincere~. tours,/ . / ~ . '~~ rl~.J larry Dennis Administrative Assistant to the President IJ I I J Hon . Chnrles GarslJe 1148 Fifth Avants NaN Yor1r 28 .. Nf1Y.f {or'r. Dear Charles: 318 June 22, 1960 1 h"":.Vt; ·,,·C;, : t T;~r of th • .;; '~lst in at. t, h1ch YOlI mRiled tfl ~ill C'rt''''ro!'(-, p.nd enclose heret-lith a. copy of n Con,,:,res~llon[11. nC'" apr:'ov~d )'arch 3. 1891), ~uthorlz­ ina the f0Indln~, :'~~b11~1~~nt and ~alntenance of a !.1f1t1.0r.~1 .... nsp.:."'v "'tory of : Iloil .. o f Amerlc~, H~thin the Dlstric.:: ~~ Colunbla, for t'i~:; C,~t1~D.t!f'n of citizens of th(~ T.Jni ted gt.o.t(~!-l C'.n(l for ~".t:ch ,lth(:r 'oer'son~ r~} the True- ' tees Mny deem prope:c" 1'-: all t:te branche:J 01" L, qio . I aloo enclose a copy of of an h ct of Con (.t.l."'es~ a:pproved He~ch 4, 1921, ~uthor1zin~ the .!Rt1on8,l . ConAervatory of r:uAic of ' '.'ne.f'ico to establish ;',:1c1 maintain bra.nches outside the District of Columbia. I flM ft. P '1"-v 1 vin~ member of the Board of T)"'U8- tees and, RS I unde!st~nd it would be 1n a position to [I*pno1nt s.g~().clp..te l"1(:;:'lihers to the Board, which night include the ner~nnR who na v ~t thl~ ~:~e beco~e interested in carry in~ nut the purposes 0 ... " t he C0nservatory, not 8.1one because of 1 ~s name but beCFH!D8 of ·.rt-:' POtier c0nforred by these two C ::1"'l"" reesional ene,ct""1'3nts ~ Sh('\ ,J d t .. l~re be f:\ny interest (',n ~~_.e nart of . .eJi tn6n Fund C ortm1 t tee of Columbltt tJn1 ver~~ - Y J kindly '; r:1e len 0\4 . Prior :0 t he incorporation by Cnn~reas, t e ;'Jr: t1onrl Conservatcn ~ '''I t' 1>t us1c of Americ1-l 'l(.tf~ 1ncOj~n(l1'iB.ted ~lr.(~er t' , .. ,t np..~e in ~'C Cl ty of new York j by [;: Cprtlflc q te (..f' InC' n :)ol'''at1on 1'.; 8d alid recor(led ~'~epta~fh(3r 19, 1885 . ; 'G l101-;i n.~ thi a I the le.ta t~ndreb' C arnerrie becaMe President , ~,,ti th ansoc1ate Trustee~ \..rhich lnclu 'ed Ana-not Belmont, • • "{ a Vanderb1lt, ~ en1"Y G.1nrauand, '.~1111aM G. Ch08.te, '"'n~ others ",hoae names I can supply. V .. ry sincerely YI1\11"8, t-{11 11am R . Bayea BIBLIOGRAPHY Books Bauer, ·Marion. "Scale," The International Cyclopedia of Music and Musicians. 8th ed. revised. New York: Dodd, Mead and Co., 1958. Bartos, Frantisek. Bedrich Smetana: Letters and Translated by Daphne Rusbridge. Prague: Blom, Eric (ed • .). New York: Grove's Dictionary of Music and Musicians. St. Martin's, 1961. Burghauser, Jarmil. Antonin Dvorak: Thematic Catalogue. Prague: Artia, 1960. Chase, Gilbert. America's Music. New York: McGraw Hill Book Co., Inc., 1955. "Conservatoire, " Encyclopaedia Britannica. 11th ed • . Cambridge, England: University Press, 1910. Dett, -R. Nathaniel. "Negro Music," The International . Cyclopedia of Music and Musicians. 8th ed. revised. New York:. Dodd, Mead and Co., 1958. Dvorak, AntonLn. Quintet in E flat major, Ope 97 (miniature score). rrague: Artia, 1955. ~~ __ ~~~ __ ~~~ ____ ~9_6 (miniature score). n. d.). ________ .• Slavonic Dances, Ope 72 (miniature score). Prague: Artia, .1955. • S · hon No. 5 in· E minor 0.· 95 From the New -----. World miniature score. New York: Pro Art Publications, 1946. Elson, Louis Charles. Historv of American· Music. 1st ed. revised. New York: The Macmillan Co., 1925. . . . -I __ ~~ __ • The National Music of America and Its Sources. New York: L. C. Page and Co., Inc., 19000 Finck, Henry T. · My Adventures in the Golden Age of Music. · New .York and London: Funk - and Wagnalls Co., 1926 .• 319 320 __ ~ __ • "The Secret of Seidl's Success," Anton Seidl: A' Memorial by His Friends (a collection of essays). New York: Charles Schribner's Sons, 1899. Fischl, Viktor (ed~). Anton!n Dvorak: His Achievement. London: Lindsay Drummond, 1943. Grove, George. "Franz Peter Schubert," Grove's Dictionary of Music and Musicians. J. A. Fuller Maitland (ed.). IV. Philadelphia: Theodore Presser Co., 1918. Halecki, Oscar. Borderlands of Western Civilization~ New York: The Ronald Press Co., 1952. Howard~John Tasker and Bellows, George Kent~ A Short History of American Music. New York: Thomas Y. Crowell Co., 1957. Howard, John Tasker. "Edward MacDowell," The International CYclopedia of Music and Musicians. 8th ed.revised. New York: Dodd, Mead and Co., 1958. ____ • "Stephen Collins Foster," The International Cyclopedia of Music and Musicians. 8th ed. revised. New York: Dodd, Mead and Co., 1958. Huneker, James Gibbons. Steeplejack. Vol. II. New York: Charles Schribner's Sons, 1920. Lang, Paul Henry. Musi'c in Western Civilizationlt New York: W. W. Norton and Co., Inc., 1941. Ober, William. Dvorak: String Quartets. New York: Vox Productions, Inc., 1962. Robertson, Alec. Dvorak. London: J. M. Dent and Sons Ltd., 1945. Skilton" Charles Sanford. "American Indian Music," The " International Cyclopedia of Music and Musicians. 8th ed. revised. New York: Dodd, Mead and Co., 1958. Smith, Reed. ~ourek, Otakar. Anton!n Dvorak: His Life and Works. New York: Philosophical Library Inc., 1954. ______ ~. Antonin Dvorak: Letters and Reminiscences. Translated by Roberta Finlayson Samsour. Prague: Artia, 1954. -----_. Antonin Dvorak PratelUm Doma. Prague: 1941. 321 • 'The Chamber Music of Anton!n Dvofak. Translated ------~by Roberta Finlayson Samsour. Prague: Artia, 1954. • The Orchestral Works of Anton!n Dvor£k. Translated ---~ by Roberta Finlayson Samsour. Prague: Artia, 1954. Stefan, Paul. Anton Dvorak. Translated by Y. W. Vance. New York: The Greystone Press, 1941. ___ -.. "Anton!n Dvorak," The International Cyclopedia of Music and Musicians. ,8th ed. revised. New York: Dodd, Mead and Co., 1958. "Thurber, Jeannette M.," The National Cyclopedia of American Biography: Current Volume D. New York: James T. White and Co., 1934. , Periodicals "Anton!n Dvo~ak Dead," The Musical Courier, XLVIII, No. 18 (1904), 25. "Anton{n :Dvorak," The Etude (1904), no page. Ashworth, A. Hargreaves. "Anton Dvor£k: 1841-1904 1 The Music Considered," Musical Opinion, LXIV, No. 76q. (1941), , , 341-42. Clapham, John. "A Dvot-ak Anniversary," Musical Opinion, , LXXXII, No. 977 (1959), 303, 305. ,. "Dvor£k and Folk Song," Monthly Musical Record, ----~-LXXXVI, No. 976 (1956), 130-38. ____ ,.' ""Dvorak and the Impact of America, IV The Music Review, XV, No.3 (1954), 203-11. ____ '. "Dvorak and the Philharmonic Society," Music and Letters, XXXIX, No.2 (1958), 130-33. II "Dvorak's First 'Cello Concerto," Music and Letters, ----X·XXVlI, No. 4 :(19'56), 350-55. ____ ,ll "Dvo'fak' s Symphony in D ~inor: ,The Creat i ve Process," Music and Letters, XLII, No.2 (1961), 103-1611 ____ • "The Evolution of Dvo~ak's Symphony 'From the New World,'" The Musical Quarterly, XLIV, No.2 (1958), ' 167-83. ___ -.. "The National Origins of Dvorak's Art." The Proceedings of the Royal Musical Association '1962-63 (paper read before the Association's 89th Session, May 6, 1963), 75-88. 322 Colles, il. C. "Antonl.n Dvorak in the New World," IbM tb.I,a.S;I~ Times, LXXXII, No. 1180 (1941), 209-11. ___ ~. UAspects of Dvo'rak's Chamber Music," The Muslcal Times, LXI, No. 923 (1920), 13-16. • "Opera at Home," The Musical Times, LXXXII, No. 1178 ---(1941), 130-33. Creelman, James. "Does It Pay to Study Music?" The Illus trated American (August 4, 1894),136-37. "Dr. Dvorak at Cambridge," The Musical Times, XXXII, No. 581 (1891), 409. Dvorak, Antonfn (in collaboration with Edwin Emerson, Jr.). "Music in America t " Harper's New Monthly Magazine, XC, No. 537 (1895), 429-34. Fisher, William Arms. "Reminiscences of One of Dvorak's Pupils," Music Lovers Guide (May, 1934), 261, 272. Hadley, James. "An Immortal Bohemian and His Music," Music Lover's Guide (May, 1934), 262-64. "High Lights in the Life of Dvorak," The Etude (March, 1918), . 161. Hopkins, ·Harry. Patterson. "How Dvorak Taught Composition," . The Etude, XLIX, No.2 (1931), 97-98. • "Student Days with Dvo~ak," The Etude, XXX, No.5 ---(1912)', 327-28. . Kinsce11a, Hazel G. "Dvorak and SPillville i Forty Years After," Musical America, LIII, No. 0 (1933), 4, 49. "National Conservatory of Music of America," Harper's Weekly, . XXXIV, No. 1773 (1890), 969-70. Net tl ,. Paul. "What Dvorak Means to the Czechs," American Music Loyer, VIII, No.1 (1941), 2-4 • . ____ I "When Dvorak Came to the New World," Musical Courier, CXXIV, No. 3 (1941), 5, 26. . Overmyer, Grace. "Dvorak in the New Wo.r1d, n Musical America, LXI, No.4 (1941), 6-7, 38. Shelley, Harry Rowe. "Dvorak as I 'Knew Him," The Etude (August, 1913), 541-42. 323 ' Shelley, Harry R., Thurber, Jeannette M., and Zeckwer, Camille, W. "Personal Recollections of a Great Master: ' Dvorak as I Kn wHim." lb. E,ugt, XXXVII. No. 11 (1919), 693-94. ~ . Stefan, Paul. "Two Who Remember Dvorak," Musical America, LXI, No. 14 (1941), 7, 25. ' ____ • "Why Dvo~ak, Would Not Return to America," Musical America, LVIII (February, 1938), .. 34e 'VoJa~kova-Wetche, Ludmila. "Anton Dvo~ak in the Classroom," The Etude (March, 1919), 135-36. Newspapers "About Ame'rican Opera," The ChiCago Journal, May 24, 1886. "Advertisement," The New York Times, September 2, 1888. "American Music for America,~' The Philadelphia Press, March 27, 1890., Daily State Gazette (Trenton, New Jersey), November 26, 1887. Downes, Olin. "A Dvora.k Reminiscence," The New York Times, August 12, 1934. "Dr. Dvorak and American Music," New York Herald, May 21, 1893. ' ''Dr. Dvora.k's Ame~ican MUSic," New York 'tribune, January 13, 1894. "Dr. Dvorak's Great Symphony," New York Herald, December 16, 1893. "Dvo~ak Hears His Symphony," New York Herald, December 17, 1893. "Dvo~"Ak Leads at the Music Hall," New York Herald, ,October' 22, 1892. "Dvo~£k Leads 'for the Fund," New York Herald, January 24, 1894. "Dvof£k 'on His New Work," New York Herald, December 15, 1893. "Dvot-~k's American Compositions in ,Boston," New York Tribune, J at:luary 1, 1894 • "Edi~orial," Evening Post (New York), March 18, 1891e "For a Columbus Memorial," The World (Philadelphia), June 13, 1890 • 324 . "'Francis B. Thurber," New York Daily Tribune, July 5, 1907. !'From Butcher to Baton" (English newspaper, Octobe~ 1S. 1886). Geiringer, Karl. "Brahms and Dvorak: A Timely Helping Hand," Da~ly Telegraph (London), August 22, 1936. Hale, Philip. "The Kneisel Quartet Plays Dvorak's New Quartet," Boston Journal, January 2, 1894. ____ a "The Symphony of a Homesick Genius," Boston Journal, June . 30, 1907. Harris t . W. T.. "Music as a Center of Art," The Washington Evening Star, February 26, 1890. "Healthy Creator: Anton!n Dvorak's Music is Accepted Today, But Somewhat Grudgingly," The New York Times, 2nd sec., October 14, 1962. . "Hear the ,'Old Folks at Home,'" New York Herald, January 23, 1894. ULetter to the Music Editor," The New York Times, November ' 25, 1928. Lowenbach, Jan. "Dvorak centenaryr" 'The New York Times, 2nd sec., September 7, 19q • "Mrs. Thurber's Plan for Maintaining Her Conservatory," The Washington Post, April 20, 1890. "Mrs. Thurber Talks: Gives Plans for Future," Boston Daily Globe, January 11, 1887. "Music for the Nation," The Washington Post, April 20, 1890. "Music in America," New York Commercial Advertizer, June, 1, 1888;. "News Item," The New York Truth, September 10, 1891. New York Times. 1885-1964. "Real Value of Negro Melodies," New York Herald, May 21, 1893. Rich, Alan-. "Friends to Dvorak: Enthusiasts Un~over ftare Quartets for Recording and Concert Series," The New York Times, 2nd sec., September 23, ·1962. - Thurber, Jeannette M. ' "Letter to the Editor, IV Evening Sun ' . (New York), February 20, 1888. 325 Unpublished .Material Letters, 1890-97 (Dvo~~k-Simrock-Thurber): Museum Antonina . DvorAka (Prague) and Narodn! Museum V Praze (Prague). Letters., catalogs, pamphlets, and other documents, 1885-1963 (National Conservatory): Scrapbooks (1885-92) of Jeannette M. Thurber, New York Public Library; . Hon. William R. Bayes, 37 Wall Street, New York; and Mrs. H. K. Forell, 2261 Valley Road, Huntingdon Valley, Pennsylvania. Other Sources Personal interview with William Crawford and William Bayes, 37 Wall Street, New York, August 16, 1963. Personal interview (telephone) with Mrs. Joseph Kovarik, . 14 Styvesant Oval, New York, July 1961. Personal interview with Bedrich Vaska, Plainfield, Vermont, August 15, 1962. Personal letter from Janet Howard (cousin of Mrs. Jeannette M. Thurber), Onteora Club, Tannersville, New York, August 25, 1962. . Personal letter from Maria Safonoff (daughter of Wassily Safonoff), Box 676, Keene Valley, New York, August 29, 1962. Personal letter from Francis B. Thurber (son of Jeannette M. ~hurber)1 Onteora Club, Tannersville, New York, August 24, 1962. VITA Birth: May 25, 1930, New York City Education: B. ,M., Oberlin College, 1954 M. M •. Indiana University, '1956 European Study, 1956-57 Teaching experience: assistant in piano at Indiana University, 1954-56 and 1957-60; Chairman, Music Department, Castleton State College, Castleton, Vermont, since January, ~960; "instructor in piano, Middlebury College, Middlebury, Vermont, 1960-64. Married, two children. /