Comprising both interpretive essays and a selection of documents that bear testimony to Dvořák's career and musical works, this volume addresses fundamental questions about the composer while presenting an argument for a radical reappraisal of his work.

A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”

Catapulted to international fame by the runaway success of his Slavonic Dances, Dvorak was, by the end of his life, one of the world's most celebrated composers. This book traces the course of an extraordinary creative career that embraced the peasant music-making of rural Bohemia, the grand receptions of Victorian England and the dynamism of fin-de-siecle New York to shape the most versatile genius in the annals of late Romanticism.

Before Antonín Dvorák's New World Symphony became one of the most universally beloved pieces of classical music, it exposed the deep wounds of racism at the dawn of the Jim Crow era while serving as a flashpoint in broader debates about the American ideals of freedom and equality. Drawing from a diverse array of historical voices, author Douglas W. Shadle's richly textured account of the symphony's 1893 premiere shows that even the classical concert hall could not remain insulated from the country's racial politics.

An account of Antonin Dvorak's 1890s stay in America, where he took the essences of Indian drums, slave spirituals, and other musical forms and created from them a distinctly new music.

This book is a personal biography by Antonin Dvořák's son who at the age of seventy-five years old decided to "write about the events missing from the other books about my father." For musicologists, Otakar's biography of his father contains many new items, but basically the book portrays Dvořák as a father.

Prominent symphony conductor Maurice Peress describes his career conducting the premiers of such works as Leonard Bernstein's 'Mass' and Duke Ellington's 'Queenie Pie'. He traces the great impact of African American music on American music, beginning with the work of Antonin Dvořák.

In this reinterpretation of Dvořák's personality and work, Beckerman explores the composer's life and music, focusing on the composer's three-year stay in the United States.

John Dvorak, the acclaimed author of Earthquake Storms, looks into the early scientific study of volcanoes and the life of the man who pioneered the field, Thomas Jaggar. Educated at Harvard, Jaggar went to the Caribbean after Mount Pelee exploded in 1902, killing more than 26,000 people. Witnessing the destruction and learning about the horrible deaths these people had suffered, Jaggar vowed to dedicate himself to a study of volcanoes. In 1912, he built a small science station at the edge of a lake of molten lava at Kilauea volcano in the Hawaiian Islands. Jaggar found something else at Kilauea: true love. For more than twenty years, Jaggar and Isabel Maydwell ran the science station, living in a small house at the edge of a high cliff that overlooked the lava lake, Maydwell quickly becoming one of the world’s most astute observers of volcanic activity.Mixed with tales of myths and rituals, as well as the author’s own experiences and insight into volcanic activity, The Last Volcano reveals the lure and romance of confronting nature in its most magnificent form—the edge of a volcanic eruption.

The incredible story of the creation of a continent—our continent— from the acclaimed author of The Last Volcano and Mask of the Sun. The immense scale of geologic time is difficult to comprehend. Our lives—and the entirety of human history—are mere nanoseconds on this timescale. Yet we hugely influenced by the land we live on. From shales and fossil fuels, from lake beds to soil composition, from elevation to fault lines, what could be more relevant that the history of the ground beneath our feet? For most of modern history, geologists could say little more about why mountains grew than the obvious: there were forces acting inside the Earth that caused mountains to rise. But what were those forces? And why did they act in some places of the planet and not at others? When the theory of plate tectonics was proposed, our concept of how the Earth worked experienced a momentous shift. As the Andes continue to rise, the Atlantic Ocean steadily widens, and Honolulu creeps ever closer to Tokyo, this seemingly imperceptible creep of the Earth is revealed in the landscape all around us. But tectonics cannot—and do not—explain everything about the wonders of the North American landscape. What about the Black Hills? Or the walls of chalk that stand amongst the rolling hills of west Kansas? Or the fact that the states of Washington and Oregon are slowly rotating clockwise, and there a diamond mine in Arizona? It all points to the geologic secrets hidden inside the 2-billion-year-old-continental masses. A whopping ten times older than the rocky floors of the ocean, continents hold the clues to the long history of our planet. With a sprightly narrative that vividly brings this science to life, John Dvorak's How the Mountains Grew will fill readers with a newfound appreciation for the wonders of the land we live on.