{"id":2159,"date":"2021-11-21T23:00:22","date_gmt":"2021-11-22T04:00:22","guid":{"rendered":"https:\/\/www.artsjournal.com\/uq\/?p=2159"},"modified":"2021-11-21T23:00:25","modified_gmt":"2021-11-22T04:00:25","slug":"dvoraks-prophecy-the-cia-and-more","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2021\/11\/dvoraks-prophecy-the-cia-and-more.html","title":{"rendered":"Dvorak&#8217;s Prophecy, the CIA, and More"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Joseph Horowitz: &quot;Dvorak\u2019s Prophecy and the Fate of Black Classical Music&quot;\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/bVTIlMc5Fuo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>My\u00a0two-hour conversation\u00a0with Kirill Gerstein,<strong> <\/strong>who hosts an indispensable weekly \u201cwebinar\u201d dealing with musical issues, mainly focused on my new book\u00a0<em><strong><a href=\"http:\/\/josephhorowitz.com\/content.asp?elemento_id=68\">Dvorak\u2019s Prophecy and the Vexed Fate of Black Classical Music.<\/a><\/strong><\/em><\/p>\n\n\n\n<p>But \u2013 as in my book (yesterday named one of the best of the year in&nbsp;<em>The Financial Times<\/em>) \u2013 many other topics were broached.<\/p>\n\n\n\n<p>If you\u2019re interested in sampling our exchange, here\u2019s a handy Listener\u2019s Guide:<\/p>\n\n\n\n<p>8:00 \u2013 <strong><a href=\"https:\/\/vimeo.com\/629528238\">The saga of Aaron Copland<\/a><\/strong> as a parable about the fate of the American artist.\u00a0<\/p>\n\n\n\n<p>12:00 \u2013 Dvorak\u2019s American legacy and Black Classical Music.<\/p>\n\n\n\n<p>20:00 \u2013 Dvorak\u2019s bluesy American style in the&nbsp;<em>American Suite<\/em>&nbsp;and Humoresques<\/p>\n\n\n\n<p>28:00 \u2013 George Gershwin as the great hope of 20<sup>th<\/sup>&nbsp;century American classical music. \u201cThe Gershwin threat\u201d of the interwar decades. \u201cThe Gershwin Moment\u201d today.&nbsp;<\/p>\n\n\n\n<p>38:00 \u2013 What to do right now? Curate the American past. How art museums get it right.<\/p>\n\n\n\n<p>40:00 \u2013 Arthur Judson vs. Otto Klemperer and Dmitri Mitropoulos: how a \u201csalesman of great music\u201d displaced forward-thinking conductors as an arbiter of taste.&nbsp;<\/p>\n\n\n\n<p>46:00 \u2013 Why American orchestras need scholars on staff. The critical lack of \u201csymphonic Dramaturgs.\u201d<\/p>\n\n\n\n<p>54:00 \u2013 The debate over \u201ccultural appropriation\u201d and how it penalizes composers of consequence.<\/p>\n\n\n\n<p>58:00 \u2013 Today\u2019s big find in Black Classical Music: William Levi Dawson\u2019s\u00a0<strong><em><a href=\"https:\/\/vimeo.com\/629610766\">Negro Folk Symphony.<\/a><\/em><\/strong><\/p>\n\n\n\n<p>1:06 \u2013 A huge topic: Charles Ives as a victim of the modernist \u201cStandard Narrative.\u201d Why his music must become better known.\u00a0<a href=\"https:\/\/vimeo.com\/625862872\"><strong><em>The Housatonic at Stockbridge<\/em><\/strong>.<\/a><\/p>\n\n\n\n<p>1:16 \u2013 The comparable neglect of Mexico\u2019s Silvestre Revueltas.<\/p>\n\n\n\n<p>1:23 \u2013 The CIA, the cultural Cold War, and the modernist Standard Narrative \u2013 a glimpse at my forthcoming book&nbsp;<em>The Propaganda of Freedom: JFK, Stravinsky, Shostakovich, and the Cultural<\/em>&nbsp;<em>Cold Warrior&nbsp;<\/em>[Nicolas Nabokov]<\/p>\n\n\n\n<p>1:30 \u2013 Why the US Government needs to play a bigger and more proactive role in support of the arts. How Richard Goodwin nearly became an influential arts advisor to JFK.&nbsp;<\/p>\n\n\n\n<p>1:34 \u2013 The erasure of the arts from the American experience. We forget how much the arts once mattered more, as in the Gilded Age.&nbsp;<\/p>\n\n\n\n<p>My thanks to Kirill.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>My\u00a0two-hour conversation\u00a0with Kirill Gerstein, who hosts an indispensable weekly \u201cwebinar\u201d dealing with musical issues, mainly focused on my new book\u00a0Dvorak\u2019s Prophecy and the Vexed Fate of Black Classical Music. But \u2013 as in my book (yesterday named one of the best of the year in&nbsp;The Financial Times) \u2013 many other topics were broached. If you\u2019re [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-2159","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QLHN-yP","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2159","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/comments?post=2159"}],"version-history":[{"count":3,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2159\/revisions"}],"predecessor-version":[{"id":2162,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2159\/revisions\/2162"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/media?parent=2159"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/categories?post=2159"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/tags?post=2159"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}