Symphony No. 9 in E minor

Symphony No. 9 in E minor

Introduction

In the process of developing the music, Dvořák succeeds in his emerging role as an ambassador of Czech music since he was the most prolific composer at the time. Developing exceptional quality songs and a team to perform them was a new aspect of competition during the late 19th century. For instance, the New World Symphony was the ninth and final composition, indicating the high level of standard the composer feared to match. Across various countries, the Symphony subtitle, From the New World, was a source of musical shift in compositions destined for top opera. Moreover, the correlation of the song with the Czech Republic established the region as the future of grand Symphony. The focus of this paper is on the composition of Symphony No. 9 in E minor and detailing the musical structure and nature of the instrument used.

Profile of Dvořák and Symphony No. 9 in E minor.

Dvořák composed it from January to May 1893, taking time to balance the four-movement framework while planning to make a grand premiere in New York. In its composition and structure, the song manifests local traditions of Slavonic Dances, since the composer grew up in the Czech Republic as a child before emigrating to the united states (Clapham, 1958, pp172). While he was in New York, Dvořák was accommodated by Jeannette Meyer Thurber and agreed to participate in the founding of the national school of composition. In addition, the composer incorporated American music elements, including Native Americans. Throughout the movements in the structure, it is evident of embodying natural Indian music elements and instruments.

Dvorak, through Symphony No. 9 in E minor, sought to manifest to the music and performing arts community in New York of his exceptional quality and assembled the best team during the premier on 16 December 1893. Themes of Americanism are evident impressions of the New York environment, such as financial and social independence (Beckerman, 1992, pp 458). Aspects of African and Native American musical culture occur throughout the song, especially in movement three that he details the spirituality of the people. For example, he reveals artistic aspects of magician Pau-Puk-Keewis, showing an inclination to tradition and natural environment.

Through the third movement, the song details environmental items such as pine-trees, panther, and wigwam, showcasing attributes of the immediate location and culture in the Americas during the 19th century. The acceptance of the song by the American national school of composition years after his demise reflects social and musical influence. Dvorak could become a legend after more than a century, since 16 December 1893, after recognition by the National Conservatory of Music (Horowitz, 2003, pp19). The composition manifests a pentatonic scale, making it easier to transition from one note to another. Using a pentatonic scale requires a five-note performance to balance between the keys and the amplitude of pitch. Developing exceptional quality songs and a team to perform them was a new aspect of competition during the late 19th century. As such, Dvořák mastery of the fourth and seventh notes denotes the utilization of different musical characteristics. With an alternative naming as the Symphony No. 9 in E minor, the composition and writing were exceptional, leading to global acclaim of Dvořák. Famous among traditional European scale composers, the pentatonic scale makes it easier for the audience to participate in the play or predicting future mood from the performance.

the syncopated and dotted rhythm

Though out Symphony, Dvořák displayed syncopated rhythm, representing Native American and Indian cultures. For instance, manipulating the rhythm to differentiate a shift of accent offers clues to spiritual and secular elements (Youens, 1991, pp31). In the process of developing the music, Dvořák succeeds in his emerging role as an ambassador of Czech music since he was the most prolific composer at the time. For example, during the third movement, the composer utilizes the words, Nagow Wudjoo, as a recollection of the cultural significance of African American traditions.

Syncopated rhythm relies on the performance of a weak beat, stressed among the notes of a movement. In the process of performing the composition in an orchestra, syncopated rhythm invites the audience to participate in through the progression of the notes. The Symphony has usage of dotted rhythms, an attribute of contemporary musical additions during the late 19th century. Dotted rhythms offer modern composers the chance to insert their notes and alterations to the song (Youens, 1991, pp29). For instance, the New World Symphony was the ninth and final composition, indicating the high level of standard the composer feared to match. A simplified adaptation of the Symphony using the dotted rhythm is Goin Home, created and performed by William Arms Fisher. The copying of Symphony attributes in Goin Home correlates with the easiness of modifying the notes using a dotted rhythm.

Dvořák creativity in composing Symphony is through Aeolian minor mode that was rare and unique in musical performances. A small Aeolian style is combined with minor seventh, producing a song that could be a performance by a variety of instruments. For instance, Symphony was capable of incorporating trombones, timpani, and piccolo while retaining a refined musical sound.

The use of cymbals, violins, and double basses in the development of the Symphony indicates the principle of reminiscence, inviting the audience to meditate as the song was performed. During the late 19th century, the composer’s focused on the themes of sophistication and urban life while forgetting the essence of emotion in music. With the development of a reminiscent key and notes, Dvořák would become popular among demographics seeking to bind affection and music (Clapham, 1958, pp174). Furthermore, in the fourth part labeled as Allegro con Fuoco, the composer was critical in using rhyming words to emphasize the emotion that he sought the audience to identify and experience.

Movement and parts

The first movement in the performance is the Adagio or the Allegro molto. As the first part of the Symphony, it is created in the sonata form that prioritizes a slow tempo. As such, the slow tempo creates suspense among the audience and offering the performers the opportunity to combine emotion and composition excellence. Moreover, the correlation of the song with the Czech Republic established the region as the future of grand Symphony. An introduction in slow tempo adds clarity to the audibility of musical instruments, such as differentiating the pitches of violin and viola. The composition manifests a pentatonic scale, making it easier to transition from one note to another. Using a pentatonic scale requires a five-note performance to balance between the keys and the amplitude of pitch.

The Allegro molto anticipates the thematic elements such as native African American spirituality while retaining the slow tempo of the performance. In the first movement, the main subject is culture and seeking the audience to reflect on their heritage and origin (Beckerman, 1992, pp 453). In the case of the composer, reflecting on composition attributes such as Slavonic Dances is vital in presenting him as an ambassador of European tradition and mastery of Symphony.

Through the second movement, the performance behind the identification of wind instruments. For instance, the use of E major – B flat major is evident, showcasing the musical sophistication of the Symphony. The second movement starts with musical bars that are basic, such as following a G flat minor with a D flat major. In addition, varying the tone from an E major in the beginning to a D flat major at the end of the Symphony is an indication of letting the performance dictate the mood and theme. As such, the Symphony progresses harmonically, relying on the English horn and clarinets to present C major musical elements (Beckerman, 1992, pp 454). As the song is being performed, continuity is dictated with the sounding of E major, making it easier to predict succeeding notes.

The third movement is developed in A-B-A format. In the words of the composer, the Molto vivace is a dedication to traditional and cultural festivities. Dvořák made Molto vivace exciting and lively to perform, in the reflection of native Indian dances. The Symphony in the third movement was described as Hiawatha in the Longfellow, indicating the cultural attributes of Native Americans before the 20th century. Themes of Americanism are evident impressions of New York environment, such as financial and social independence. Among the various parts of the Symphony, the third movement is evidently a manifestation of the local community the composer lived in (Horowitz, 2003, pp16). Alternatively, the Molto vivace utilized a tone and Symphony that encourages individuals to be carefree and progressing the performance with a theme of urgency.

Molto vivace is structured as a poem detailing Indian dances, reflecting the occurrence of festivities or rite of passage rituals. With an increasing theme of urgency, the performance of the Molto vivace is swift and requiring mastery of musical instruments such as tuba, flutes, and oboes. Ritualistic attributes of the magician Pau-Puk-Keewis are detailed in the third movement, affirming the cultural significance of the Symphony as an indicator of origin, heritage, and roots.

The fourth movement is the final composition in the Symphony. Dvořák intended the Allegro con Fuoco to be short and precise, providing a summary of the previous parts. The fourth part is developed in sonata form, improving the process of modification by contemporary musical performers. Dvořák reflected the theme of reminiscence and, in particular, aroused emotions in the audience (Clapham, 1958, pp176). The structure of Allegro con Fuoco utilizes themes of spirituality, reminiscence, and innovation in using dotted rhythms. However, the Allegro con Fuoco is challenging to reproduce due to variation of notes and melodies, requiring patience and practice during the performance. Allegro con Fuoco is uniquely eloquent and productive, as the composer sought to increase the level of suspense, adding to the popularity of the whole Symphony (Clapham, 1958, pp173). The richness in a thematic composition relies on balancing notes while using brass instrumentation, a reflection of modesty and sophistication during the late 19th century in new York opera.

Before the performance of the Symphony by the New York Philharmonic Society, the general public was aware due to increased publication. Due to the high levels of white supremacist policies and themes in performing arts, Dvořák was unique in propagating African American and Native American cultural attributes. With more than six months before the performance of the Symphony, the conductor Anton Seidl selected a team that trained on more than 12 instruments. Newspaper articles describing the notes, parts, and themes of affection and cultural heritage raised public suspense, making the Symphony a commercial success after its premiere (Youens, 1991, pp28). An open rehearsal was carried out the night before the performance on 15 December 1893. Moreover, the public was afforded the chance to meet with the composer and team to perform the Symphony the following day. Carnegie Hall was the central location of finalizing the final performance preparations, and purchase of tickets the day before the premier.

Conductor Anton Seidl was chosen by Dvořák as the leader of the team performing at the orchestra in New York and offered dominant newspaper and media centers an interview on musical elements and themes of the Symphony. Moreover, the New York Philharmonic Society was selected as additional time to partner with Dvořák in presentation, after previous works were thriving.

Conclusion.

The social significance of the Symphony was propagating African American and Native American cultures and traditions against increasing discrimination of inferior ethnicities. Secondly, the Symphony was embraced by diverse ethnicities, social classes, and by the fellow musical maestro, indicating a change of social norms and trends during the late 19th century. Symphony No. 9 in E minor is composed and reviewed as having the potential to encourage the young generation to engage in musical composition and performance, thereby exploiting their talents for social and cultural development. The Symphony was triumphant in increasing the visibility of musical structures and parts to the general public.