California State University, Northridge

Antonin Dvořák

Symphony No. 9, Op. 95

A thesis submitted in partial fulfillment of the requirements

By
Mehran Tebyani

May 2017

A thesis of Mehran Tebyani is approved:

__________________________ _____________
Dr. Ric Alviso Date

__________________________ _____________
Dr. Liviu Marinescu Date

___________________________ _____________
Dr. John Roscigno, Chair Date

California State University, Northridge

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 Dedication

This thesis is dedicated to all Baha’i people, who due to their religious beliefs and the

discriminatory and political climate in an evolving Iran over the last 40 years, were

systematically denied enrollment and attendance to accredited institutions of higher learning. I

would also like to recognize and commend the music faculty at California State University

Northridge for their thorough mentorship and inspiring instruction during my courses of study

there.

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 Table of Contents

Signature page ……………………………………………………………………. ii

Dedication ………………………………………………………………………... iii

Abstract …………………………………………………………………………... v

Chapter 1: A Brief History of the New World Symphony ………………………. 1

Chapter 2: An Analysis of Dvorak’s Symphony No. 9 ………………………….. 6

Chapter 3: Interpretation …………………………………………………………. 7

Chapter 4: Rehearsals and Preparation………………………………………….... 9

Conclusion……………………………………………………………………….. 21

Annotated Bibliography ……………………………………………………….... 22

Appendix: The title for the autograph score by Antonin Dvorak ………………. 23

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 Abstract

Antonin Dvořák

Symphony No. 9, Op. 95

Antonin Dvorak’s Symphony No. 9, or New World Symphony, is arguably one of the

most popular pieces in the Symphonic literature in the world. This symphony was composed and

premiered in 1893 at Carnegie Hall with Dvorak present in the audience and Anton Seidle

conducting. Dvořák artfully weaves American folk music into his symphony. By utilizing

American folk themes, Native American motifs, and African-American melodies Dvorak, in a

uniquely Bohemian style, succeeds in creating a distinctly “American” Symphonic identity. This

monumental work successfully spans cultural divides and shed light on the plight of many of the

cultures whose musical textures were borrowed from. The following pages will contain a brief

discussion of the genesis of this symphony and the working career of its composer, and a

synopsis of the work (Instrumentation, tempos and folk music characteristics) allowing us to see

Dvorak’s influence and creation of an “American” symphonic identity. The work will also be

analyzed aesthetically comparing and contrasting different artistic interpretations on the part of

conductors throughout the works’ history as well as a brief discussion on the challenges

ensemble face in the performance of this work and the surmounting of these challenges in new

and artful ways.

 Chapter 1: A Brief History of the New World Symphony

The Symphony No. 9 in E minor, “From the New World Symphony”, Opus 95,

composed by Antonin Dvořák is arguably one of the best loved and most well-known pieces in

the literature for Symphony Orchestra. The reputation of the Symphony 9 has steadily grown

since its premier in 1893, and it has become a staple of popular culture; Neil Armstrong,

Commander of Apollo 11, brought along a recording of the Symphony on his 1969 mission of

landing on the Moon.

Antonin Dvorak (1841-1904) was a composer who achieved worldwide fame following

in the footsteps of his predecessor Bedrich Smetana. Both Smetana and Dvorak developed

nationalistic styles in their compositions by combining folk elements of their native countries

and cultural neighbors. From the years 1892-5 Dvorak was the Director of the National

Conservatory of Music of America in New York City. During his time as director he was

exposed to many folk tunes of the Indigenous Indians, African- American work songs, and

American popular tunes. In his Bohemian style Dvorak weaves in the many influences he was

exposed to into his symphony. He was among the first composers to use folk melodies in

classical compositions successfully. Dvorak was acutely aware of the cultural, political, and

social concerns and attitudes of the time specifically related to the plight of African-American

people in America during the Reconstruction and the displacement of Indigenous Indians from

their respective territories. This receptivity and interest in the political and social climate of the

time largely influenced his use of Native American and African-American motifs to span the gap

between cultures and create a uniquely American tone to the Symphony. It should be noted this

was not Dvorak’s first utilization of American folk elements; his String Quartet #12, also

composed in 1893, makes use of several motifs of Native peoples and African-American

textures. It has since come to be known as the “American String Quartet.”

Dvořák’s role in helping young democracies establish a greater sense of cultural identity

has perhaps not been sufficiently recognized until now. The main thrust of his popularity as a

composer is the fact that he was able to bridge at least two cultures and assimilate diverse folk

music with very little effort. It should be noted here that during the premier of his Symphony 9

applause was so overwhelming in between movements of the work, that Dvorak felt obliged to

stand and acknowledge the praise several times during the performance. This seems to indicate

that his music played a very important part in establishing a sense of nationalism in the United

States. Not only can this artistic accomplishment of establishing an American musical identity be

considered a sort of artistic blessing of the Nation-State, it can also be considered a

foreshadowing of the modern concept of the “melting-pot,” or “multiculturalism.”

Dvořák’s career is an interesting example of a classical composer who had preexisting

experience and success writing pieces that incorporated Bohemian folk elements into his

classical compositions. He was able to use this expertise when he migrated to America as the

Director of the National Conservatory and in the subsequent years that followed culminating in

the presentation of the New World Symphony, arguably the first and most successful classical

composition to use elements of Native-American, African-American, and American folk music

in its creation. The Symphony 9 as well as many of his other pieces had a significant influence

on not just American composers of the time, but also many European and Pan-American

composers of that era. While less marked due to acculturation this influence on nationalistic

styles has continued to influence composers in the present musical age.

 Understandably, Dvořák’s music created controversy in both America and his native

Bohemia. This controversy delayed the dissemination and concertizing of many of Dvorak’s

works. According to Ottlova, certain elements of Czech society regarded Dvořák’s success as a

betrayal of the nation’s art; and because he accepted commissions from abroad he was accused

of trading his art for momentary success and being an opportunist and usurper of American folk

music. While some of this criticism may have been valid, it smacks of envy. Along the same

lines Dvořák’s American experience subjected him to endemic American racism and classism of

the nineteenth century. Horowitz argues that only an outsider such as Dvořák could have

successfully brought these elements together to create a work of such popularity and far-reaching

impact. (Horowitz, p. 18)

Dvorak’s synthesis of American popular tunes of the 19th century, African- American

melodies and Native American motifs is informative in understanding the evolution of

Nationalism of the time. Even before coming to the United States, Dvorak was already widely

regarded as an incredibly gifted Bohemian nationalist composer who drew from melodies and

rhythms of his native Bohemia, Moravia, surrounding countries and the Ukraine.

The New York Philharmonic Society commissioned Dvorak to write this symphony, which was

premiered on December 16th, 1893 at Carnegie Hall, conducted by Anton Seidle with Dvorak

present in the audience. The work was rapturously popular among the general audiences of the

time and received general acclaim by the musical community. The following letter sent to

Dvořák by the Secretary of the New York illustrates the growing admiration Dvorak received

Philharmonic Society, Aug. Roebbelen:

The Directors of the Philharmonic Society of New York ask you respectfully whether you would

be inclined to be so good as to give your newest Symphony No. 5 to the Philharmonic Society

for its premiere performance. (Beckerman, p. 204)

This letter provides not only proof of Dvorak’s general acceptance as a composer within

the established musical circles of the 19th century but as a composer of the first rank who utilized

compositional and folk elements of his adopted home with great success.

Dvorak, as director of the National Conservatory, was exposed to many musical

influences that greatly aided in his ability to orchestrate music with a distinctly American tone.

One of these influences were his encounters with Harry T Burleigh, an African-American

student, who later became a composer later. Burleigh aided Dvorak by singing American folk

tunes and African-American work songs, traditionally known as Spirituals, to more deeply

understand and the feeling of American music. Dvorak borrowed several of these melodies and

idioms and then reworked them within the structures of Classical composition weaving in his

perspective through use of rhythms, counterpoint, and orchestration. Dvořák was also interested

in Native American music and deeply appreciated the importance of American Folk Music,

particularly Negro spirituals, as shown in the following quotation given to the New York Herald:

I am now satisfied, he said, that the future music of this country must be founded on what are

called the Negro melodies. (Beckerman, p. 96)

Dvorak believed that the music of the African-American and Indigenous Indians shared

similarities with Scottish music. Most historians agree that he is referring to the pentatonic scale,

which is used in the folk music of many cultures. In the Symphony 9 Dvorak utilizes the

pentatonic scale in the second movements’ opening English horn theme.

 Example 1: The beginning of second movement

Dvorak also drew from techniques of classical composers of his not-too-distant past such

as Beethoven and Schubert. For example, in the 3rd movement, the Scherzo, there are some

similarities with the Scherzo of Beethoven’s Symphony No. 9 like falling fourth and timpani

strokes. Also in the 4th movement, Dvorak’s use of cyclic flashbacks from previous movements

is very similar to Beethoven’s uses of cyclical in his Ninth Symphony.

 Chapter 2: An Analysis of Dvorak’s Symphony No. 9

Instrumentation

The New World Symphony is written for the following instruments:

• 2 Flutes (2nd also Piccolo)

• 2 Oboes (One can double English horn)

• 2 Clarinets in A

• 2 Bassoons

• 4 French horns in E, C, and F

• 2 Trumpets in E, C, and Eb

• 3 Trombones

• 1 Tuba (2nd movement only)

• Timpani

• Triangle (3rd movement only)

• Cymbals (4th movement only)

• Strings

The duration of this work is 45 minutes approximately. The Symphony is separated into 4

movements.

1. First movement: Adagio with 4/8 time - Allegro molto with 2/4 time in E minor.

2. Second movement: Largo: Common time, Db Major – Second theme in C# minor.

3. Third movement: Scherzo: Molto Vivace – Poco Sostenuto, ¾, E minor.

4. Fourth movement: Allegro con fuoco, Common Time, E minor – Ends in E Major.

 Chapter 3: Interpretation

Due to the rapturous reception of Dvorak’s Symphony 9 since its premiere in 1893 the

New World Symphony has occupied a place of honor among the symphonic orchestral literature.

Owing to this popularity and with the advent of recording technology in the early 20th century

there are countless performance recordings of the New World Symphony available. This large

number of performance recordings provides us with a staggering number of interpretations on

the part of Music Directors in overall aesthetic, tempi, phrasing and emotionalism. This next

section provides a brief comparative analysis between older and more modern recordings of the

Symphony 9 and the light these recordings shed as we make preparations to rehearse out own

versions.

It is effective to compare recordings for the purpose of studying interpretations.

Comparing recordings provides todays Music Director a plethora of interpretive nuances utilized

by conductors of the past and provides a window into their interpretive space. Comparing the

understanding of two or more performances of this symphony can also help us better understand

how this piece might be approached in relation to specific conductors of the past. It can be

argued that an older recording of the New World Symphony being closer to the composer’s life

time and encompassing musicians who might have interacted with Dvorak or his disciples could

potentially be more beneficial.

Musical tastes are subjective. Nowhere is this more apparent than in the differing

interpretations of conductors. For example in comparing the overall tempi of performances by

Herbert von Karajan and Sergiu Celibidache we find markedly differing opinions of how fast

individual movements of the Symphony are to be played. Karajan conducts it in faster tempo

with almost frantic energy while Celibidache’s performance has a breadth of slow romanticism

with many frequent use of rubato.

 Chapter 4: Rehearsals and Preparation

First Movement: Adagio 4/8 time - Allegro molto 2/4 time e minor

The following is an overview of my rehearsal planning and preparation. The beginning of

the first movement feels very mysterious and ominous. The important aspect in the conducting of

this section is establishing the tempo in 4/8 without utilizing a large, clear beat pattern. As it is

shown on the score, violas, cellos, and double basses play a rather long legato phrase, but the

cellos play the second beat of the first three measures with a thirty-second note which makes the

conductor’s role very important in the coordination of these interweaving lines. In measure 4, the

horn III and IV start on the second beat of the measure with a thirty-second note in sforzando and

diminuendo. The same thing happens in the woodwind instruments with syncopations in flutes

from measures 6 to 8. It is necessary to rehearse these sections for the seamless legato lines and

the differences in dynamic range. Also, this brief interlude provides us with the setting of the

stage a serene yet anticipatory mood in preparing for the forthcoming Allegro section.

Example 2: Measures 1 to 8

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 In measure 15, flutes and oboes enter with a faster paced rhythmic passage and the

conductor needs to subdivide the beat clearly to assist players to articulate and navigate this

section with ease.

The last three measures of the introduction, measures 21 to 24 contain a crescendo at the

beginning of the figure and then a diminuendo and forte pianissimo at the end. This figure

heightens the excitement of this section before the first very famous theme of symphony. In

measure 24, French horn III and IV introduce the first theme in a two beat march pattern with

more than twice tempo of the introduction. In measure 39 and 43, there is a crescendo for the

string instruments, but with the fortissimo in the other parts, especially for timpani, it can be very

difficult to shape the beauty of these crescendos. Therefore, it is better to ask the orchestra

(including the timpanist) to perform a diminuendo opposite what the strings are doing in order to

hear better the crescendo to ffz in the string parts.

From measure 78 diminuendos are started in different instruments leading into a

pianissimo in measure 87. A slight ritardando helps in measures 89 and 90 before the second

theme in measure 91, which flutes and oboes play the second theme with a sostenuto. This

restatement has accents on the second beat of every other measure as well as a sforzando at the

beginning of every other measures that must be carefully observed by the flute I and oboe I

player.

From measure 129, there is a hemiola between the double bass and cello parts and other

string parts on the second beat of every measure. Rehearsing this interlocking rhythm between

parts will help to create a clearer texture in the orchestra sound. At the same time, there is a third

interval between violin I, and violin II parts which often requires fine-tuning.

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 In measures 253 to 257, there are some triplets and sixteenth notes with syncopations,

which need to be rehearsed with first and second violins. Then in measure 273, the

recapitulation, the first theme is restated with French horn III and IV in mezzo forte dynamic as

if to remind the audience of the first theme. Going into the code in measure 424 it is effective to

rehearse the trumpet players from measures 440 to 444 to perform the syncopations accurately.

Second Movement: Largo: Common time, Db Major – Second theme in C# minor

The second movement begins softly with a stately yet contained fanfare within a range of

mf to ppp dynamic and very slow paced tempo with quarter note equal to 52. The intonation of

the opening brass “chorale’ requires rehearsal for both accurate intonation and breath

coordination between the performers.

In measure 90, because of the inclusion of sextuplet patterns for oboe 1, conducting by

dividing each beat into two eighth notes provides better guidance to the players. An interesting

feature in this movement is the English horn solo line throughout. The first and third fermatas are

on the last beat of measure 107 and 109. It is advisable to do a full cut-off the music off at the

end of that measure and collectively taking a breath into the next measure.

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 Example 3: Measures 101 to 109

Third Movement: Molto Vivace – Poco Sostenuto, ¾, e minor

The conducting of the Third movement is one, but in four bar phrases. This movement

contains many repeats of sections throughout. Often clarification is necessary to keep the

orchestra coordinated within the repeated sections.

In this movement a very impressive moment starts from measure 60, which has forte-

piano signs and diminuendos for four measures in string parts. The coordination of these

dynamics really heightens the drama of the music. From measure 64 to the end of 67,

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bassoon I performs as a solo instrument with the second violins, violas, and cellos in a soft

dynamic. Keeping the strings dynamic in check is necessary so as not to lose the bassoon in the

orchestral texture. Coordinating the strings bowings in this section is really helpful as well as

organizing the bow area to be used for the soft passages. In general for soft passages it is better

for the strings to use little bow pressure into the string and to play close to the fingerboard as it

facilitates softer dynamics rather than close to the bridge of the instrument.

A slight ritardando in measures 64 to 67 helps to facilitate the slower broader tempo of the new

theme for flute and oboe in measure 68.

Example 4: Measures 56 to 65

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 Example 5: Measures 66 to 73

In the measures 92 to 98 French horn and woodwind players, playing a repeated passage

taken from the stings, should keep their dynamics very soft and delicate trying to emulate the

string like texture in their own respective sounds.

The last eight measures of the movement are particularly tricky for the viola section due

to the changing of divisions in each measure. There is diminution in the note grouping (6,5,4,..)

and the viola part is very exposed. Rehearsing for coordination in gesture and subdivision was

necessary.

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 Example 6: Measures 292 to 299

Fourth Movement: Allegro con fuoco, Common Time, E minor – Ends in E Major

This movement is arguably the most exciting movement of this symphony with a tempo

marking of Allegro con fuoco and a quarter note equal to 152. Note the same rhythms in the

strings.

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 Example 7: Measures 1 to 6

Theme I is introduced in measure 10 in the trumpets. This theme is passed around

through every section of the orchestra in various configurations and guises. In measure 28 and 32

the string section has sforzando accents. It was necessary to rehearse this section to get the

correct emphasis for the all the strings.

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 The changes of rhythms from dotted eight and sixteenth note to triplet eighth notes are

numerous. This motif and rhythmic structure is passed around the entire orchestra. The music

director should take care that the difference and accuracy of these rhythmic figures are observed.

Measures 64 and 65 contain a diminuendo and ritardando for the repeated notes of the

flutes, violins and other instruments. The ritardando should be lengthened to facilitate the lyrical

entrance theme of the clarinet I in measure 66.

Example 8: Measures 63 to 70

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 In measures 100 to 106, the hemiolas between the violas in triplets and second violins in

sixteenth notes, need to be rehearsed for clarity.

Between measures 267 to the end of 274, there is a tricky part for the French horn players

that includes the first theme of the first movement with a syncopation on the first beat. Measures

267 to 270 French horn I and II continue the music with an accelerando and crescendo between

measures 271 and 274 to get back to Tempo Primo of the movement (Quarter note = 152 bpm).

Example 9: Measures 265 to 271

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Example 10: Measures 272 to 279

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 Conclusion

Antonin Dvorak’s Symphony 9, “New World Symphony”, has enjoyed nearly perennial

popularity since its premiere in 1893. Dvorak’s artful Bohemian weaving of American folk

tunes, African-American melodies, and Native American motifs into this monumental work

contributed greatly to an “American” Symphonic sound. Through his use of folk tunes and

Native melodies Dvorak was able to bridge the gap between people and cultures of the late 19th

century, despite endemic racism and classism of the time. As has been noted by Horowitz only

an “outsider’ such as Dvorak could have so keenly bridged the gap between people and classes.

As an immigrant to the Unites States as a means of escaping discrimination in the educational

system in Iran, I empathize with Dvorak. I feel a kinship with the “outsider” who makes a

concerted effort to meld his native ideals with those of his adopted country. Dvorak masterfully

blends different cultures and reveals, through music, the alienation, struggle and, ultimate

triumph of countless individuals through this Nation’s history. Perhaps for this stirring empathy

that can be felt by people of all nations Dvorak’s masterfully orchestrated Symphony continues

to thrill and inspire us nearly 150 years after its premier.

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 Annotated Bibliography

Beckerman, Michael. “Dvořák and His World.” Princeton: Princeton University Press, 1993.

This book represents a comprehensive attempt to reconstruct Dvořák’s life from limited

available material. The book focuses on his time in America particularly. It also

addresses the issue of the influence of Nationalism on his music.

Horowitz, Joseph. “New World Symphony and Discord.” The Chronicle of Higher Education

54. (Jan. 11, 2008): 18.

This article illustrates the discord created by the introduction of folk music into

classical music. Only an “outsider” such as Dvořák could dare to introduce national

idioms into American classical music.

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 Appendix: The title for the autograph score by Antonin Dvorak

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