Essay Example on Dvorak's New World Symphony: American Art Music Revolutionized

Introduction

Dvorak's New World Symphony is a highly relevant composition as it heralded the resurgence of American classical music. Alternatively known as Symphony No.9 in E Minor: Form the New World, these composition contributions are more exceptional in the annals of music history originating from America. Dvorak facilitated the development of American art music as it brought attention to the critical role that African American and Native American music plays is defining American cultural nationalistic identities. Written at a time when classical music in American required a reboot, Dvorak Symphony No. 9 helped American composer's breakaway from the tradition if European sound. Most notably, American classical music at this time relied heavily on the creation of Brahms and Beethoven. However, Dvorak, the intention was to create a new foundation for original composition for American concert music (Turner 9). Therefore, its composer tapped into America's rich cultural tradition to compose this piece. Subsequently, he initiated a transformation of American classical music. In this way, Symphony No. 9 extends classical music principles learned from Brahms, Beethoven, and Schumann, as evidenced by its use of slow movement especially the scherzo in the third movement too, integrate thematic elements of the late romantic period. Besides that, this composition provides a deep connection between the American cultural identity and the vast collection of folk melodies which mimic the spirit and tone of spirituals. Symphony No. 9 is convoluted due to its adoption of indigenous American music in the composition of classical music, while the incorporation of the five-note scale helps create a piece that deviates from the conventions of late 19th-century European classical music.

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First movement Analysis

In its first movement, Dvorak's Symphony No. 9 derives its structural components from a strictly European tradition. Known as Allegro molto, its first part features a sonata with an introduction that is slow tempo/Adagio, which creates anticipation for the thematic content of its subject. Additionally, its debut firmly anchors its main idea right from the beginning creating a leitmotif of Dvorak's composition. The beginning of this movement introduces several melodic elements that demonstrate Dvorak's depended on American folk music as well as African American spirituals. Four minutes into the movement, the composers introduce an entire section made up of a solo flute that resembles a high degree of African American spirituals. It is at this point that one gets an overview of its whole theme which repeatedly appears within the composition (Tebyani 7). As it progresses, this symphony reveals a rhythmic structure that is like American fiddle tunes that mimic Native American. Its beginning depends on a narrow melodic range, monotone accompaniment and lowered seventh note. However, subsequent development of its theme transforms the character and style of this symphony through its dependence on parallel grids, fundamental temperament change, and broader melodic ranges. Interestingly, the first movement develops its rhythmic content using the progressive of A major, F major, E flat minor E minor and F minor. Similarly, its recapitulation assumes a structure that repeats some elements of its exposition with some significant difference occurring in its closing and secondary themes.

English Horn

Symphony No. 9's second movement comprises a harmonic progression of wind instruments, which makes the composition rather straightforward. Initially, written for performance using a clarinet, Dvorak alters adopted for the English horn as a tribute to Harry T Burleigh who acquainted the composer with African American spirituals, however, in its final version, the second movement has a remarkedly European orientation. Although it commences with brass, this melody never ceases to amaze the keen listener for its use of minor keys to enhance its pentatonic range. In its middle section reminds of the desolate vastness of the American prairies and homesickness. In addition to that, its scherzo section creates a powerful climax that connects the first movement followed by a reappearance of introductory chords at its end. In this movement, the English horn emphasizes the essential role of the second theme and the extraordinary exquisiteness of the conductor's progress as it fades into the accompaniment if string quartets. In this way, Dvorak returns the audience to the essential motives if trombones and in how he utilizes the subtle needs of the movements ability to develop its theme throughout the performance. Primarily, the composers use the English horn in D significant flat transform this performance into an exploration of color that relies on different texture and timbers as well as sudden silences (Turner 3). As a result, this composition brilliant connect sits various elements in a highly coordinated manner providing one with a glimpse into the brilliant mind of its composer.

The Third Movement Reminisces

Dvorak wrote this piece in A-B-A from which the composers intended to represent Indian dance feasts reminiscent of Longfellow's Hiawatha. In this section, the movement creates a heightened sense of urgency characteristics of wild dance nature of Indian folk dances. An idyllic middle section contrasts the classification of Part A's rhythm as a trio. Besides that, it's part B comprises its trio section, diverges from the wildness of section A resulting in a fading away of its American feel. After that, follows a repetition of part A followed by the coda, which in combination equip the piece with an overall tone that transforms its final movement. Additionally, the coda imbues the entire movement with an aura reminiscent of the theme of the pieces' first movement (Tebyani 5).

Finally, this symphony attests to the composer's ability to incorporate Beethoven's innovativeness to create a movement that is both productive and eloquent providing the entire performance with a mood that highlights the symphony's themes. In this way, the end of this movement differs from its earlier movements in that it emphasizes Dvorak's creative ability to adopt new approaches in cultivating the thematic content of Symphony No. 9. Interestingly, in one passage of the end, the composer combines various elements of the fourth, second, and third movements by making the coda connect the many ideas of the entire symphony.

Reflection's and Impressions

I think that the performance of this symphony by the New York Philharmonic was impressive, lasting, and arresting, in particularly the conductor's ability to guide both the instrumental arrangements succeeded in creating an atmosphere of exclusivity beyond what I expected. For instance, the audience's appreciation of the performance through its lengthy applause was impressive indicating its gratitude to the New York Philharmonic ability to perform this complex composition. As a result, I cannot fail to appreciate Dvorak's genius in creating such a powerful and transformative arrangement. Moreover, the ability of the New York Philharmonic to correctly interpret the entire composition. From the first movement, the up-to-the fourth movement was exquisitely beautiful and served to enhance my understanding of this phenomenal Bohemian composer.

Works Cited

Tebyani, Mehran. Antonin Dvorak Symphony No. 9, Op. 95 (New World Symphony). Diss. California State University, Northridge, 2017.

Turner, Kristen M. "Douglas W. Shadle, Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise. New York, Oxford University Press, 2016, 344 p." Transposition. Musique et Sciences Sociales 6 (2016).