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<\/a>Commemorative plaque in Spillville, Iowa<\/p><\/div>\n
While Dvo\u0159\u00e1k personally gave the symphony shortly before its premi\u00e8re its famous tag \u201cFrom the new world\u201d, the title \u201cAmerican quartet\u201d for opus 96 did not come from the composer himself. Also repeatedly claimed for this work are the influences of native Americans and Afro-Americans, but answering the question of what then is tangibly \u201cAmerican\u201d in the \u201cAmerican quartet\u201d is by no means simple, as Hartmut Schick was able to show in his article<\/a>. For attributes such as pentatonicism or melodies without leading tones can also be found in European cultures, so must not in any way be taken as typically \u201cAmerican\u201d, per se. Still, we can broadly agree that the strikingly frequent rhythmic ostinatos in the compositions from Dvo\u0159\u00e1k\u2019s stay in the United States (1892\u201395) probably go back to his experience with Indian chanting to drums that the composer could demonstrably also have heard in Spillville. HN 7232, p. 26, 4th movement, mm. 1\u20138<\/p><\/div>\n I\u2019d like to concentrate in the following on a spot in the scherzo of the quartet that I came upon while preparing the new edition appearing before long (score<\/a> and parts<\/a>), and posing more pointedly the question of \u201cBohemian\u201d (read \u201cCzech\u201d) or \u201cAmerican\u201d influences in a passage with an ostinato rhythm. It has to do with measures 57 ff., where the theme stated by the cello is doubly counterpointed by rhythmic ostinatos.<\/p>\n HN 7232, p. 20, 3rd movement, mm. 57\u201362<\/p><\/div>\n The ostinatos in question present two variants: as either continuously sounding on the same pitch or as alternating on two or three pitches, but always according to the same model of repeated rhythms. In the scherzo spot mentioned, we are concerned with the second variant: The violins, with their marked rhythm, define the space of an f-minor third, whereas the viola affirms by alternating between f<\/em> and d flat<\/em> the theme\u2019s harmonic modulation between f minor and D-flat major. But at the same time the viola part provides with the accent on beat two (only changing to beat one in mm. 62 ff.) a rhythmic counterpoint to the heavily stressed first beat of these measures.<\/p>\n Looking here at the sources reveals, though, a noteworthy difference. Whereas the first edition of the viola part consistently puts the accent on the third note, the first edition of the score shows an additional accent on the 1st note in measure 58.<\/p>\n First edition of the parts (viola part), 3rd movement, mm. 57-64<\/p><\/div>\n First edition of the score, 3rd movement, mm. 49\u201364<\/p><\/div>\n Since, alas, the engraver\u2019s models and galley proofs for these editions published in 1894 by Simrock are lost, the autograph is the only other source under consideration:<\/p>\n Autograph, 3rd movement, mm. 49\u201372<\/p><\/div>\n In measure 58 Dvo\u0159\u00e1k actually notates two accents for the viola, on the first and third notes, although in the next measure \u2013 contrary to the later print \u2013 he already returns to the \u201cnormal model\u201d of the accent on beat one. Since the first editions are alike here in placing the accent on the third note in measures 57 as well as in 59\u201361, what\u2019s found in the autograph looks like a simple writing error. But now Dvo\u0159\u00e1k, as often in this quartet, unmistakeably emphasises the accent on the 1st note by adding fz<\/em><\/strong> (instead of fp<\/em><\/strong>), making a writing error rather unlikely. A glance at further markings in the following measures \u2013 measure 62, fz<\/em><\/strong> without accent; measure 63, fp<\/strong><\/em> with accent; measure 64, fz<\/strong><\/em> with accent; measure 65, fp<\/strong><\/em> without accent \u2013 reveals, however, that the alternating between fz<\/em><\/strong> and fp<\/strong><\/em> is not consistently notated. Since a similar arbitrariness also exists in the printed sources, I decided to standardise the notation to fp<\/strong><\/em> in all these measures.
\nAn especially prominent example of a rhythmic ostinato, that is, a characteristic accompanying, rhythmic formula repeated unmodified over many measures, opens the finale of opus 96.<\/p>\n<\/a><\/a><\/a><\/a><\/a>
\nThe problem remains with the doubled accent in measure 58. In the extant continuity sketch for the quartet, Dvo\u0159\u00e1k notates this spot without any accent. Perhaps, he also initially notated the notes so in the autograph, only not articulating each measure separately thereafter, but groups of measures, respectively. This would explain, partly at least, the numerous oversights \u2013 not only here, but also in other spots in the quartet.
\nThe question of which accentuation the composer originally had in mind at this spot cannot be answered with certainty, but it seems as if at first he was intending to put accents only on beat one of the measure, but then considered changing the emphasis, at least sporadically. Such change of emphasis conflicts with the \u201cAmerican\u201d rhythmic ostinato, but is reminiscent of Bohemian [Czech] folk dances, in particular, of the \u201cFuriant\u201d [Czech folk dance], characterised by the shifting of emphases [between 2\/4 and 3\/4 time]. Did Dvo\u0159\u00e1k momentarily recall, so to speak, his Bohemian roots right in the middle of his \u201cAmerican\u201d quartet?<\/p>\n