Discussions of Dvořák's Sixth Symphony typically focus on its connections with Vienna. Dvořák wrote the symphony for the Vienna Philharmonic and dedicated it to Hans Richter. Its allusions to Brahms and Beethoven led David Brodbeck to describe it as a piece in which Dvořák ‘speaks German with an unusual degree of clarity’. Contemporary Czech critics tell a different story. After its 1881 Prague première, the work was dubbed the ‘Czech Spring Symphony’. One critic stated that it ‘speaks to us in pure Czech’. Indeed, the Sixth is Dvořák's only symphony to include a furiant, and Czech scholars have long sought to prove that the work's themes were derived from Bohemian folk songs. Can these narratives be reconciled? This article suggests that political tensions and Dvořák's growing international renown made Czech critics eager to claim him, giving Czech labels to a piece that could be interpreted as conforming to the Austro-German tradition.

中文翻译：

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说德语，听捷克语，声称是德沃夏克

对德沃夏克第六交响曲的讨论通常集中在它与维也纳的联系上。德沃夏克为维也纳爱乐乐团创作了交响曲，并献给了汉斯·里希特。它对勃拉姆斯和贝多芬的暗示让大卫·布罗贝克将其描述为一首德沃夏克“以不同寻常的清晰程度说德语”的作品。当代捷克评论家讲述了一个不同的故事。1881 年布拉格首演后，这部作品被称为“捷克春季交响曲”。一位评论家说它“用纯捷克语对我们说话”。事实上，《第六交响曲》是德沃夏克唯一一部包含狂怒者的交响曲，捷克学者长期以来一直试图证明该作品的主题源自波西米亚民歌。这些叙述可以调和吗？本文表明政治紧张局势和德沃夏克