Published on March 25, 2017

Dvořák - Symohony No. 9 in E minor op. 95 "From The New World",
Münchner Philharmoniker conducted by Sergiu Celibidache Recorded 1991:

1. Adagio - Allegro molto
2. Largo
3. Scherzo. Molto vivace
4. Allegro con fuoco

Wikipedia

Symphony No. 9 (Dvořák)
"New World Symphony" redirects here. For the Miami-based orchestra, see New World Symphony (orchestra).

The Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 (Czech: Symfonie č. 9 e moll „Z nového světa“), popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It is by far his most popular symphony, and one of the most popular of all symphonies. In older literature and recordings, this symphony was often numbered as Symphony No. 5. Astronaut Neil Armstrong took a tape recording of the New World Symphony along during the Apollo 11 mission, the first Moon landing, in 1969.[1] The symphony was completed in the building that now houses the Bily Clocks Museum.[2]

Instrumentation
Movements

I. Adagio — Allegro molto
II. Largo
III. Scherzo: Molto vivace
IV. Allegro con fuoco
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The piece has four movements:

Adagio, 4
8 — Allegro molto, 2
4, E minor
Largo, common time, begins E major to D♭ major, then later C♯ minor
Scherzo: Molto vivace — Poco sostenuto, 3
4, E minor
Allegro con fuoco, common time, E minor, ends in E major

Influences
Dvořák was interested in Native American music and the African-American spirituals he heard in North America. As director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, later a composer himself, who sang traditional spirituals to him and said that Dvořák had absorbed their 'spirit' before writing his own melodies.[5] Dvořák stated:

I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them.[6]

The symphony was commissioned by the New York Philharmonic, and premiered on December 16, 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on December 15, 1893, Dvořák further explained how Native American music had been an influence on this symphony:

I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.[7]

In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's Hiawatha"[8] (Dvořák never actually wrote such a piece).[8] He also wrote that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance".[8]

In 1893, a newspaper interview quoted Dvořák as saying "I found that the music of the negroes and of the Indians was practically identical", and that "the music of the two races bore a remarkable similarity to the music of Scotland".[9][10] Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions.[11]

In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz asserts that African-American spirituals were a major influence on Dvořák's music written in America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music."[12] Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in America from African-American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes[13] that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot".[14] Leonard Bernstein averred that the symphony was truly multinational in its foundations.[15]

Dvořák was influenced not only by music he had heard, but by what he had seen, in America. He wrote that he would not have composed his American pieces..
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Music
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