Peter Goldstein wrote:
>On Dvorak, I've always thought that of all major composers he
>had the most trouble with his endings, drawing them out too much
>or getting the tone wrong. The ending of the 9th, for example, has
>always seemed curiously undignified to me
"Undignified" in what sense? And why is dignity a desirable ingredient for
the coda of this most unconventional, fiery and impassioned of all Dvorak's
The "New World" has always seemed to me, in critical terms, the most
scandalous victim of its own popular success. Looked at from any rational
perspective, it is more innovative in structure, thematically memorable and
surprising than any of its (admittedly wonderful) forbears.
Its reward? Sniffy condescension all round from "critics" (I think I mean
reviewers) who should know better. I actually met someone the other day
who apologised - yes apologised! - for loving this most loveable and
unsinkably marvellous of all the great symphonies.
It's a mad, and sometimes wearisome world, my masters.
Christopher Webber, Blackheath, London, UK.