Symphony No. 9 “From the New World”

On September 27, 1892, on the eve of taking up the directorship of the National Conservatory of Music of America, Antonín Dvořák arrived in New York with his entire family. The composer was not unknown in America, and the great popularity his music enjoyed was not unrelated to the invitation he had received. It was during this three-year stay, during which Dvořák took a close interest in the roots of American music, that he composed his Symphony No. 9 in E minor, nicknamed “From the New World.” 

Written between January and May 1893, it premiered on December 16 at Carnegie Hall to triumphant acclaim. In an article published in the New York Herald the day before the concert, the composer stated that the themes of his symphony were original, but that he had drawn inspiration from Indigenous and African American music, which he nonetheless treated using traditional compositional techniques. It is also known that Dvořák developed a genuine interest in spirituals after hearing a student at the Conservatory, Harry T. Burleigh, sing. Readings of the poet Henry Longfellow, particularly The Song of Hiawatha, also appear to have exerted a certain fascination on him. 

The first movement begins with a brief slow introduction, whose melodic contour is characteristic of the composer’s American works. The movement quickly becomes animated as the main theme is stated in fragments before bursting forth in the brass. Strongly emphasized, its syncopated* rhythm imbues the movement with a lively character reminiscent of the idea of “Western Epics.” Two other musical ideas run through this Allegro molto: a dance reminiscent of a polka, which leads into a melody evoking the spiritual “Swing Low, Sweet Chariot.” 

The admirable Largo that follows ranks among the Czech master’s most touching and most recognizable achievements. Introduced by mysterious brass chords that unfold into a chorale*, the theme is then played by the English horn in the tone of an old legend. The narrative character of this movement, illustrated by contrasting episodes, seems to echo the text by Longfellow that inspired it. 

Marked Molto vivace, the scherzo evokes a traditional Indigenous dance in the forest. Its repetitive theme and rhythmic vigor certainly contribute to this impression, despite a rather classical structure reminiscent of Beethoven. Its central section, bathed in an irresistible scent of Central Europe, transports us to the banks of the Danube. 

Finally, the energetic Finale offers an epic conclusion to this journey through the New World. Its theme is first stated by the brass, then taken up by the strings. A second idea, tenderly played by the clarinet and commented on by the cellos, provides a moment of calm amid the bustling activity. Several themes heard earlier reappear, both in the development and in the coda of the movement, leading to a triumphant conclusion.