Dvorak's Prophecy - by Joseph Horowitz (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br>A <em>Kirkus Reviews</em> Best Nonfiction Book of 2021<br /><br /> 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.<p/><br></br><p><b> Book Synopsis </b></p></br></br><p>In 1893 the composer Antonin Dvorák prophesied a great and noble school of American classical music based on the searing negro melodies he had excitedly discovered since arriving in the United States a year before. But while Black music would found popular genres known the world over, it never gained a foothold in the concert hall.</p><p>Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to Gershwin's <em>Porgy and Bess</em> and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Leonard Bernstein and Aaron Copland, 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 Dawson, and Florence Price to redefine the classical canon.</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br>[In <em>Dvorák's Prophecy</em>] Horowitz has taught me to listen to Black classical music as what the most American of classical music is. His lesson should resound.--John McWhorter "New York Times" (12/14/2021 12:00:00 AM)<br><br>[A] sincere and erudite effort to right ignorance and wrongs, and to bring this long-forgotten music into the sunlight.--Martha Anne Toll "Washington Post" (12/10/2021 12:00:00 AM)<br><br>A clarion call for American classical music to 'acquire a viable future.' . . . [F]eisty and opinionated but always backed by solid evidence. Essential cultural history.-- "Kirkus Reviews (starred review)"<br><br><em>Dvorák's Prophecy</em>...will facilitate much-needed discussion about the way we regard the American classical music traditions--discussions not at all limited to the classroom.--Larry Starr, author of American Popular Music: From Minstrelsy to mp3<br><br><em>Dvorák's Prophecy</em> is a passionately-argued and -written book that will stir deep and long, long overdue discussion...Horowitz is a master of the hitherto unrevealed, and he's on his best game in this book.--Dale Cockrell, author of Everybody's Doin' It: Sex, Music, and Dance in New York 1840-1917<br><br><em>Dvorák's Prophecy</em> will become a flashpoint for necessary conversations not only about the performing arts, but also broader issues of import: race, American historiography, and the search for our national soul.--Lorenzo Candelaria, Dean of the Blair School of Music, Vanderbilt University<br><br>In his exploration of the unused past of Dvorák, Ives, Farwell, Burleigh, Dett, Dawson, Price and Gershwin, Joseph Horowitz invites us to a marvelous rediscovery... A feast awaits, both in this book and in the music it describes.--Allen C. Guelzo, James Madison Program in American Ideal and Institutions, Princeton University<br><br>Joseph Horowitz's <em>Dvorák's Prophecy</em> is unique in its emphasis on the connections between major nineteenth-century American literary figures like Herman Melville, Walt Whitman, and Mark Twain and American classical music, and it is admirable in its demonstration of the centrality of African American literature, culture, and history to both the American musical tradition and the American literary tradition.--Brian Yothers, author of Reading Abolition<br>
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