Dvořákian

comparative more Dvořákian · superlative most Dvořákian

1. alternativeAlternative form of Dvorakian.

   The Third Symphony is a bigger, brasher work: a brooding brass opening smacks of [Richard] Wagner, then begins shifting between Dvořákian hoedowns and hazy whole-tone harmonies.

   2018 February 5, Alex Ross, “The Rediscovery of Florence Price”, in The New Yorker, New York, N.Y.: Condé Nast Publications, →ISSN, →OCLC, archived from the original on 29 Jan 2018

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   Even the unashamed crib from Lohengrin in the middle section (D flat major) of the slow movement has a Dvořákian freshness, particularly when, as here, [Istvan] Kertesz adopts a fastish speed – faster than the score would strictly allow – and deliberately lightents the texture.

   1977, Edward Greenfield, Robert Layton, Ivan March, “[Dvořák, Antonín (1841–1904)] Symphony No. 3 […]; Hussite overture, […]”, in Ivan March, editor, The Penguin Stereo Record Guide (Penguin Handbook), 2nd edition, Harmondsworth: Penguin Books, published 1978, →ISBN, page 344, column 2

   It is within the incidental music for the play Radúz a Mahulena (Radúz and Mahulena, later arranged in a suite entitled Pohádka [Fairytale]) that Suk’s early Dvořákian period ends and a new, original voice begins.

   2007, John K. Novak, “Josef Suk’s Non-Obstinate Ostinato Movements: A Study of Harmony and Style”, in Geoffrey Chew, editor, New Music in the “New” Europe 1918-1938: Ideology, Theory, and Practice (Colloquia Musicologica Brunensia; 38), Praha: KLP – Koniasch Latin Press, →ISBN, page 188

plural Dvořákians

1. alternativeAlternative form of Dvorakian.

   After [Bedřich] Smetana’s death, his self-proclaimed descendants notably the composers [Zdeněk] Fibich, [Josef Bohuslav] Foerster and Ostrčil saw themselves as modernist underdogs in an unfair struggle with the Dvořákians, and upheld Smetana as an increasingly anachronistic model of Czech modernism.

   2007, Brian Locke, “Otakar Ostrčil’s Honzovo království and the “Fulfilment” of Czech Musical Modernism”, in Geoffrey Chew, editor, New Music in the “New” Europe 1918-1938: Ideology, Theory, and Practice (Colloquia Musicologica Brunensia; 38), Praha: KLP – Koniasch Latin Press, →ISBN, page 77

   2 more examples

   Then put on Kubelik’s record, and see how often his reading differs by being considerably slower; and how often you accept his correction. I believe that a good many people, thorough Dvořákians at heart, will question Kubelik’s authority and reject his version of the parts, that is, where this question enters.

   1949 September, W[illiam] McNaught, “[Gramophone Notes] Rafael Kubelik and Dvořák’s Fourth [Symphony]”, in The Musical Times, volume XC, number 1279, London: Novello and Company […], →ISSN, →OCLC, page 316, column 1

   With such long sides (up to 38 minutes in Symphony No. 7) the sound is hardly refined, but these are rich, spontaneous-sounding performances which will give great pleasure both to newcomers, attracted by an amazing bargain, and to committed Dvořákians, who will relish Barbirolli’s unusual combination of expressiveness in detailed phrasing and strongly architectural control of longer spans.

   1977, Edward Greenfield, Robert Layton, Ivan March, “[Dvořák, Antonín (1841–1904)] Symphonies Nos. 7 […]; 8 […]; 9 […]”, in Ivan March, editor, The Penguin Stereo Record Guide (Penguin Handbook), 2nd edition, Harmondsworth: Penguin Books, published 1978, →ISBN, page 346, columns 1–2