What is the meaning of Symphony No. 9 'From the New World'?

Dvořák wrote his Symphony No.9, ‘From the New World’ whilst director of the National Conservatory of Music in New York City from 1892 to 1895. The title refers to the continent of America not merely as the expression of the composer’s novelty at being in a new land, but as an acknowledgement that the work is deeply inspired by the music and culture of the United States.

The symphony was an instant success, remaining to this day one of the most popular in the repertoire—themes from it, above all the gorgeous Largo that forms the second movement, are amongst our most popular pieces here on 8notes.

Here’s the full story of Dvořák's most iconic, epic and most American of works.

Background

Before his appointment in New York, Dvořák had forged a career that blended the music of the classical European mainstream—composers such as Brahms and Wagner —with the rhythms and melodies of Moravia and his native Bohemia. This combination helped him to forge a style distinctly his own, an experience that led him to believe that composers in other countries would not be able to cultivate a national style unless they too engaged with their native music.

Absorbing the local style

On his arrival in the U.S. Dvořák began with a survey of the U.S. musical landscape in a series of newspaper articles in 1892. These not only allowed him to outline his view that American composers needed to engage with the music of Native Americans and African-Americans, but served as his own initiation on the subject. Around this time he also met the African-American composer Harry Burleigh, who introduced Dvořák to traditional spirituals.

The symphony is commissioned

In 1893 Dvořák was commissioned to write a new symphony by the New York Philharmonic, which was eventually premiered with great success in New York City on 16th December 1893. Though the work does not make explicit use of native music, its influence can be clearly heard in the work, lending it a distinct sense of place that makes this truly an American symphony.

The Work

The work is in four movements, following the traditional pattern of a fast first movement, followed by a slow movement, a scherzo and a final fast movement.

1st movement: Adagio—Allegro molto
The work opens with an introductory Adagio that seems to evoke the vastness of the American frontier.

The fast movement then begins with a call and response theme, a common type of structure in African-American spirituals:

This then transforms into a second theme that is perhaps more reminiscent of a polka from Dvořák’s homeland:

The second subject, first heard in the flute, is pentatonic, a type of scale associated with traditional music both in America and elsewhere. Others have noted that it is reminiscent of he African-American spiritual Swing Low, Sweet Chariot.

2nd movement: Largo
The Largo begins with a series of magical chords, before the introduction of the famous cor anglais melody:

It is believed that Dvořák chose this instrument because it reminded him of the voice of Harry Burleigh (see above). The tune is Dvořák’s original creation, but it is hard not to sense the emotional essence and melodic style of African-American spirituals within it, perhaps especially because of its choral quality and hymn-like structure. It is perhaps no coincidence that this movement was subsequently turned into the sentimental song Going Home, some accidentally believing that Dvořák had used a traditional tune when writing this movement.

3rd movement: Scherzo (Molto Vivace)
The third movement, written in rondo (ABACABA) form is dance-like, its imitative main theme being introduced after a dramatic clearing of the air:

It is likely that this movement was inspired by Native American dances and possibly influenced by Longfellow’s poem The Song of Hiawatha, which Dvořák admired. The driving rhythms, syncopations, and energetic character suggest a ceremonial or communal dance.

4th movement: Allegro con fuoco
The sonata form fourth movement begins in dramatic style, with a repeated idea that sounds as if it has come from the movie ‘Jaws.’ This leads to the dramatic main theme in brass.

There second subject first appears on the clarinet:

These themes are developed and then repeated before a dramatic final passage that also recalls the material from the previous movements.

Though there is no explicit reference to traditional American music in this movement (aside from the references to previous movements), there is nevertheless something about its heroic and epic nature that is suggestive of grandeur and hardships of the American frontier.

Lasting impact

The work received a triumphant reception at its premiere in Carnegie Hall, quickly being performed by a number of European orchestras. It remains one of the most popular symphonies in the repertoire, a fact reflected by its transition into popular culture.

Not only was the main theme of the Largo turned into the song ‘Going Home’, but it was used in a Hovis Bread advert directed by Ridley Scott in 1973:

Music from the symphony has also appeared numerous times in television programmes and in film, including in ‘Ted Lasso’ (series 2, episode 8) (2021), 'Clarkeson’s Farm' (series 1, episode 1) (2021), 'Trolls World Tour' (2020), 'The Better Angels' (2014) and 'Four Lions' (2010).