In his book Dvorak and His World, Michael Beckerman provides a plethora of correspondences between Dvorak and other musicians and acquaintances. One spirit interaction is a letter written by William Smythe Babcock Matthews from Chicago on April 18th, 1893. This letter is written regarding some of Dvorak’s works, their meaning to America, as well as his connections to other musicians.
Matthews is requesting that Dvorak provide him with some details regarding what he feels towards America and music in general so that he may publish them alongside an image of Dvorak. In his letter, Matthews discusses some of the pieces he’d been listening to of Dvorak’s such as his Requiem.
Matthews describes Dvorak’s Requiem as “One of the purest musical works the Apollo club has done for years.” His admiration for Dvorak’s work is obvious, especially as he continues to praise it in context to the changing musical climate in America at the time.
In short it is a great work. Your orchestration pleased us all very much, and I was particularly gratified by the moderation of it, considering the temptation to let loose after the manner of Berlioz on the “Dies irae.”
Matthews holds great respect for Dvorak and his praise for his work in the transitional musical atmosphere of America at the time shows the importance that Dvorak held within American music. Many people wrote to him with praise and support but not many went into details regarding the climate in which Dvorak made his appearance. His music was something sublime within the times and were greatly appreciated across America, especially within those who were, as Matthews put it, “a real admirer of the composer, and a would-be friend to the man.”
“Letters from Dvořák’s American Period: A Selection of Unpublished Correspondence Received by Dvořák in the United States.” In Dvorak and His World, edited by Beckerman Michael, 192-210. Princeton University Press, 1993. http://www.jstor.org/stable/j.ctt7s5r0.11.