Page 21 - NWS Nov 2024 Playbill

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was assured from its première in Carnegie Hall in 1893. Dvořák plunged right
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i in with his work in New York and took the opportunity to continue his interest in
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indigenous America musical materials—especially Black American spirituals and
indigenous America musical materials—especially Black American spirituals and
whatever Native American music—or what passed for that in those days—that he
whatever Native American music—or what passed for that in those days—that he
could fi nd. Characteristic “American” rhythms are served up as infl uences upon
could fi nd. Characteristic “American” rhythms are served up as infl uences upon
Dvořák. Longfellow’s epic poem,
Dvořák. Longfellow’s epic poem, Hiawatha, is adduced as the model for the middle
movements. And for many years, the famous melody of the slow movement was
movements. And for many years, the famous melody of the slow movement was
claimed to be a Black spiritual, when in fact the “spiritual” was born three decades
claimed to be a Black spiritual, when in fact the “spiritual” was born three decades
later, when newly-composed words in dialect were set to Dvořák’s immortal tune.
later, when newly-composed words in dialect were set to Dvořák’s immortal tune.
Recent historical analysis has pretty much relegated specifi c American elements
Recent historical analysis has pretty much relegated specifi c American elements
in the symphony as broad and vaguely inspirational—for most of what had been
in the symphony as broad and vaguely inspirational—for most of what had been
previously heard as “From the New World” is now known to be mostly from the
previously heard as “From the New World” is now known to be mostly from the
“European World.” In the end, it is best to hear this great composition as essentially
“European World.” In the end, it is best to hear this great composition as essentially
Czech in almost every way—Dvořák really couldn’t help being himself!
Czech in almost every way—Dvořák really couldn’t help being himself!
© 2015 William E. Runyan
© 2015 William E. Runyan
N o t e f r o m p h o t o h i s t o r i a n / v i d e o g r a p h e r J o s e p h S o h m
Note from photo historian/videographer Joseph Sohm
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about the NEWORLD presentation: :
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Throughout time, nations have sometimes been likened to individuals. It’s an easier
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way to comprehend a nation that is comprised of tens of millions of people. Arnold
way to comprehend a nation that is comprised of tens of millions of people. Arnold
Toynbee, a renowned English historian (1889-1975) said it best when he compared the
Toynbee, a renowned English historian (1889-1975) said it best when he compared the
birth, growth, maturation and decline of nations to people. This concept of “France”
birth, growth, maturation and decline of nations to people. This concept of “France”
as an individual Frenchman or an Englishman representing Great Britain is what led
as an individual Frenchman or an Englishman representing Great Britain is what led
me to a ponderous quote by J. Hector St. John Crèvecoeur, a French-American
me to a ponderous quote by J. Hector St. John Crèvecoeur, a French-American
farmer who in 1782 published a book, “Letters from an American Farmer.” Here, he
farmer who in 1782 published a book, “Letters from an American Farmer.” Here, he
asked:
asked: “What, then, is the American, this New Man?” To me, this simple question
is linked to Toynbee’s thesis of a “nation as a person,” with an individual cycle of
is linked to Toynbee’s thesis of a “nation as a person,” with an individual cycle of
growth, maturation and decline.
growth, maturation and decline.
I thought a better way to understand “this new man, the American” is a way to view our
I thought a better way to understand “this new man, the American” is a way to view our
country as an individual person. With this question in mind, for the Bicentennial of the
country as an individual person. With this question in mind, for the Bicentennial of the
US Constitution in 1987, I was commissioned by the US Bicentennial Commission on
US Constitution in 1987, I was commissioned by the US Bicentennial Commission on
the US Constitution in Philadelphia to write and photograph a multimedia piece that
the US Constitution in Philadelphia to write and photograph a multimedia piece that
I entitled “NEWORLD” (musically based upon Dvořák’s “New World” Symphony). I
I entitled “NEWORLD” (musically based upon Dvořák’s “New World” Symphony). I
contracted William Shatner to read my narration in 1987, and it is this script combined
contracted William Shatner to read my narration in 1987, and it is this script combined
with all-new motion imagery that I have taken across the 50 states over the past
with all-new motion imagery that I have taken across the 50 states over the past
fi ve years that will be on display during New West Symphony’s November 2024
fi ve years that will be on display during New West Symphony’s November 2024
concerts—all as part of the upcoming 250 Anniversary of America. The New West concerts—all as part of the upcoming 250 th
Symphony concerts will be illustrated throughout with drone, timelapse and video o
S y m p h o n y c o n c e r t s w i l l b e i l l u s t r a t e d t h r o u g h o u t w i t h d r o n e , t i m e l a p s e a n d v i d e
imagery spanning the 50 states.
imagery spanning the 50 states.
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