FROM THE NEW WORLD PROGRAM

Antonín Dvořák (1841-1904) December 16, 1893, this composition Symphony No. 9 in E minor, Op. 95, was premiered by the New York “From the New World” Philharmonic Orchestra in , and concertgoers were ecstatic. The As a young composer in Bohemia (now composer reports proudly to his publisher part of the Czech Republic), Dvořák was Simrock, “The success of the symphony... undoubtedly influenced by the spirit of say that no composer has ever had such Nationalism that swept across Europe in a triumph. I was in a box, the hall was the second half of the 19th century. He filled with the best New York audience and often uses modal fluctuations and Slavic the people applauded so much that I had dance rhythms, which lend an ethnic flavor to thank them from the box like a king.” to his works, making them especially appealing to audiences at home and abroad. Many listeners immediately detected an “American” quality in Symphony No. 9. In 1892 Dvořák was named Director of the Like a number of American folk songs and newly-established National Conservatory spirituals, some of Dvořák’s melodies are of Music. Although reluctant to leave his pentatonic (only five notes) and modal homeland, the composer found his new (lowered leading tone), with open fifths, salary irresistible―$15,000 a year― creating a pastoral effect; however, exactly 25 times his income at Prague numerous folk songs of Central Europe Conservatory! The timing of Dvorak’s share similar characteristics. In fact, arrival in New York could not have been Dvořák denied ever quoting a folk song more propitious, since celebrations literally, stating, “It is the spirit of Negro and commemorating the fourth centenary of the Indian melodies which I was striving to discovery of America were underway. The reproduce in my new symphony. I was known for its business have not used a single one of them.” enterprises and inventions, not artistic He also adds that his new symphony contributions, and American composers, “is and always will be Czech music.” who had always imitated Western European music, were searching for a cultural identity. Whether American or not, Symphony No. 9 is undoubtedly a masterpiece that After encountering various sounds in “the blends conventional elements with fresh melting pot” of America, Dvořák urged sounds. Its overall structure is typical; young composers to explore potential there are four lengthy movements in elements in ethnic music and produce a contrasting tempos and formal plans. national American musical style. In an The outer movements are fast and in interview in 1893, he states, “The future sonata-allegro form, while movements two music of this country must be built on the and three are slower and, respectively, in foundations of the songs which are called ABA and expanded scherzo formats. The Negro melodies. They must become the Symphony also resembles many other works basis of a serious and original school of of the 19th century by using the same themes composition which should be established in more than one movement. in the USA.” Dvořák’s comments immediately sparked controversial Dvořák’s colorful orchestrations are exchanges among musicians and the remarkable. Relatively new instruments general public. Interest in this subject was like the piccolo, bass trombone, and further heightened when it was tuba, help produce a modern sound, announced that the composer had while in the third movement the triangle spontaneously written the words “From and timpani create special effects. In the the New World” on the last page of his beginning of the second movement the recent work, Symphony No. 9. On brasses play “ppp” (very, very softly) in a page 52 FROM THE NEW WORLD PROGRAM (continued) low register. Although consisting of only States and abroad. , which was seven chords, this chromatic passage is one commissioned by the Hartford Symphony, of the loveliest in symphonic literature, is his best-known work. To prepare for this and its unusual harmonies lead smoothly project, the composer listened to more than into a hauntingly beautiful melody played 2,000 stories of immigrants who came to by the English horn. America between 1910 and 1940, and he

selected comments from seven individuals. Perhaps Symphony No. 9’s most immediate appeal is its lyricism. Three themes dominate Ellis Island comprises an orchestral prologue much of the opening movement—an and epilogue, with interludes interspersed ascending minor chord with a touch of between the immigrants’ narratives. Boyer syncopation at the end, a rhythmic modal sets the mood immediately with a heroic figure, and a pentatonic melody that trumpet theme in open intervals, somewhat resembles the spiritual Swing Low, Sweet reminiscent of John Williams and Aaron Chariot. The English horn presents a lovely Copland. However, Boyer deftly creates cantabile theme in the second movement. appropriate moods for each narration (In 1922 one of Dvořák’s pupils added lyrics without overpowering the monologues. to this tune, turning it into the spiritual Goin’ For example, there are loud percussive Home.) New materials appear in the third sounds during the description of a violent movement—a playful staccato theme over storm scene, syncopated ragtime for an open fifths, a more sustained pentatonic Irishman’s commentary, and soft, sparse melody, and a new folk-like tune. All of these tones for intimate moments. When the new themes lend themselves to repetition and arrivals see the Statue of Liberty for the sequence rather than extensive manipulation. first time and realize that they have finally found refuge in the United States, a lush Symphony No. 9 may not be a genuine Romantic melody soars in the strings. American work, since no U.S. folksongs The blend of the immigrants’ own words, were used, and according to the scholar R. along with visual images, and emotional Larry Todd, “a truly American musical idiom orchestral music, creates a powerful work emerged only with the work of that is heart-wrenching and stunning, native composers in the twentieth century.” yet awesome and magnificent. The real Still, Dvořák deserves credit for raising the story of Ellis Island is deeply inspiring and consciousness of American musicians, for should never be forgotten. In the words of he was the first composer of international Lazarus Salaman, one of the immigrants, rank to pose the pertinent question: “We’re all strangers. It’s only a matter of “Every nation has its music. There is time, who got here first.” Italian, German, French, Bohemian, Russian; why not American music?” In 2003, Boyer conducted London’s in a recording of Peter Boyer (1970- ) Ellis Island, which was released on the Naxos Ellis Island: The Dream of America record label, and in 2006 the recording received a Grammy Award nomination for Boyer holds undergraduate and graduate Best Classical Contemporary Composition. degrees from College and the The work has been performed more than , and he is a music 200 times by almost 100 orchestras, and it professor at Claremont Graduate University recently aired on PBS as part of the Great in California. A conductor, orchestrator, and Performances series. composer, Boyer’s works have received over 500 public performances by more than 150 © Program notes by Dr. La Wanda J. Blakeney orchestras, and thousands of broadcasts by Blakeney classical radio stations around the United

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