[Footnote 328: For his biography, consult the Hadow essay (referred to above) and the chapter on Dvo[vr]ák in Mason's _From Grieg to Brahms_.]
But the individual tone of the melodies could come only from a Bohemian and if they seem both Negro and Bohemian it simply proves the common bond existing in all folk-music.[329] This _New World Symphony_ has had a great vogue and by reason of the warmth of its melodies and the rich, colorful scoring is indisputably a work full of charm.[330] Two prevalent traits of Dvo[vr]ák's music are noticeable in this symphony--the unexpectedness of the modulations and the unusual harmonic scheme.[331] The structure is at times rather loose, particularly in the Finale where the joints often crack wide open. But, as an offset, there is great rhythmic vitality--observe in particular the swing of the Trio from the Scherzo--and that sensuous tone-color peculiar to the composer. In fact, the scoring of the slow movement with its magical theme for English horn would alone compensate for many structural blemishes. This movement closes with a mysterious chord for divided double basses (four solo instruments) which is one of many touches in individual treatment. The Finale, in accordance with modern practise, although containing themes of its own, finally becomes a _résumé_ of preceding material. The two main themes are striking and well contrasted; but Dvo[vr]ák was a mediocre architect and the movement, in comparison with the Finales of Franck and Tchaikowsky, is more of a potpourri than a firmly knit organic whole. The final page is stimulating in its bold use of dissonances. But we must take Dvo[vr]ák as he is. There is no question of his genius, for his music is spontaneous, never labored, and he has expressed with convincing artistic skill the emotions and ideals of his gifted race.
[Footnote 329: The author has heard this symphony played in Prague and other continental cities under Bohemian conductors. It is always welcomed as being thoroughly characteristic of Bohemia.]
[Footnote 330: For detailed analytical comment consult Vol. III of _Short Studies in Great Masterpieces_ by D.G. Mason.]
[Footnote 331: Note for example the chords at the opening of the slow movement.]