Antonín Dvořák
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Composer: born September 8, 1841, Nelahozeves, near Kralupy in Bohemia (now the Czech Republic); died May 1, 1904, Prague Work composed: 1892-1893 in New York City World premiere: Anton Seidl led the New York Philharmonic on December 16, 1893, at Carnegie Hall. Instrumentation: 2 flutes (1 doubling piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, triangle, and strings. Estimated duration: 40 minutes |
Antonín Dvořák began his Ninth Symphony in December 1892, shortly after he arrived in America, and completed it the following May. During his three-year sojourn in New York, Dvořák explored the city, watched trains and large ships arrive and depart, fed pigeons in Central Park, and met all kinds of people. Late in 1892, Dvořák wrote to a friend back home, “The Americans expect great things of me. I am to show them the way into the Promised Land, the realm of a new, independent art, in short, a national style of music! … This will certainly be a great and lofty task, and I hope that with God’s help I shall succeed in it. I have plenty of encouragement to do so.”
Dvořák was also introduced to a great deal of American folk music, including Native American melodies and Negro spirituals. However, he did not quote any of them in the Ninth Symphony. Dvořák explained, “The influence of America can be readily felt by anyone with ‘a nose.’” That is, hints of the uniquely American flavor of this music are discernable throughout, as Dvořák made use of the syncopated rhythms, repeated patterns, and particular scales common to much of America’s indigenous music. But the Ninth Symphony is not a patchwork of previously existing materials, and all the melodies in the Ninth Symphony are Dvořák’s own (including the famous English horn solo in the Largo, which was later given the title “Goin’ Home,” with accompanying text, by one of Dvořák’s New York composition students, a young Black composer and baritone named Harry Burleigh).
“I have simply written original themes embodying the peculiarities of Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, harmony, counterpoint, and orchestral color,” Dvořák explained. As for the title, “From the New World,” Dvořák intended it as an aural picture postcard to be mailed back to friends and family in Europe and meant simply “Impressions and Greetings from the New World.”
At the premiere, the audience applauded every movement with great enthusiasm, especially the Largo, which they cheered without pause until Dvořák rose from his seat and took a bow. A critic writing for the New York Evening Post spoke for most when he wrote, “Anyone who heard it could not deny that it is the greatest symphonic work ever composed in this country … A masterwork has been added to the symphonic literature.”
© Elizabeth Schwartz
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