EXERCISE Dvorak

Exercise: Dvorak – A. Dvorak – New World Symphony

After listening to the video and following the score, answer these questions:
1. What is the featured instrument in this movement?
2. What instrument joins the melody at measure 11?
3: What instruments plays scale passages at Number 3 (page 17)? (Extra credit) What is
their first note in concert pitch?
4: At Number 4 (page 20) the oboe, then the clarinet, play a melody; in what ways are
the slurs and articulations different for these two instruments in this passage?
5: What is your personal takeaway?
 NEW WORLD SYMPHONY
LARGO
7e Dedicated to Antonin Dvorak
Peter Scott Analysis by Norman Ludwin
 Ottorino Respighi
2

¨ Antonin Leopold Dvorak; (September 8, 1841 – May 1,

1904) was a Czech composer. Following the nationalist
example of Bedrich Smetana, Dvorak frequently
employed features of the folk music of Moravia and his
native Bohemia (then parts of the Austrian Empire and
now constituting the Czech Republic).
¨ Dvorak's own style has been described as 'the fullest
recreation of a national idiom with that of the
symphonic tradition, absorbing folk influences and
finding effective ways of using them’.
 Ancient Air and Dances
3

¨ The Symphony No. 9 in E Minor From the New

World, Op. 95, B. 178, popularly known as the
New World Symphony, was composed by Antonín
Dvorak in 1893 while he was the director of the
New York Conservatory from 1892 to 1895.
¨ It is by far his most popular symphony, and one of
the most popular in the modern repertoire. In older
literature and recordings this symphony is often
indicated as Symphony No. 5.
 Why this work is important:
4

¨ The English horn theme (referred to as the “Going Home

theme”) has become one of the most well beloved in the
orchestral literature.
¨ Dvorak’s ability to weave folk music with Western
classical techniques paved the way for the 20th century
composers such as Mahler, Bartok, and Shostakovich.
¨ Dvorak gradually reduces the numbers of strings, from
full sections to four players and finally just two solo
players. This technique was refined by later composers
to allow them to use various different string groupings
for numerous effects.
 Analysis Notes:
5

¨ Themes are related and developed masterfully

¨ Strings and winds with different roles
¤ The use of stark contrasting sections, from strings to winds to solo
instruments is extremely effective and helps to structure the movement
¨ Repeated use of the string choir as a transitional group between
sections
¨ Use of augmentation and diminution as compositional tools when
developing the material
¨ Several instances of melodic linking between strings and winds
¨ Complete triads in the winds and brass
¨ Modal change from major to minor and back again
¨ Innovative use of the double basses as an independent voice
¤ Soli pizzicato
¤ Soli last chord of the movement
 Romantic Orchestra
6

¨ Woodwinds ¨ Percussion
¨ (Piccolo) ¨ 3 Timpani
¨ 2 Flutes ¨ Snare Drum
¨ 2 Oboes ¨ Bass Drum
¨ (English Horn) ¨ Cymbals
¨ 2 Clarinets in B-flat, A ¨ Triangle
¨ (Bass Clarinet in B-flat, A) ¨ Tambourine
¨ 2 Bassoons ¨ Glockenspiel
¨ (Contrabassoon) ¨ Strings
¨ Brass ¨ Harp
¨ 4 French Horns in F (sometimes in different ¨ 14 1st Violins
keys) ¨ 12 2nd Violins
¨ 2 Trumpets in F (sometimes in different keys) ¨ 10 Violas
¨ (2 Cornets in B-flat) ¨ 8 Cellos
¨ 3 Trombones (2 Tenors, 1 Bass) ¨ 6 Double basses
¨ (Tuba)
 Spacing Example
7

n 1) Interlocking More Blend

n Flute Dvorak New World Symphony
n Oboe
n Flute
n Oboe Possibilities of
n 2) Enclosure arranging
n Flute
like pairs in
n Oboe
n Oboe four parts; in
n Flute order of
n 3) Overlapping blending
n Flute potential:
n Flute/Oboe
n Oboe General characteristic:
n 4) Juxtaposition Close in the upper and middle registers,
n Flute open in the bass; like instruments
n Flute
are in harmony.
n Oboe Less Blend Flute and clarinet: juxtaposition
n Oboe
Horns and trumpet: overlapping
Oboes and clarinets: justaposition
 Instrumentation
8

• Two flutes • Timpani

• Two oboes • 1st violins
• English horn • 2nd violins
• Two clarinets in A (sounds a • Violas
minor third lower than notated)
• Cellos
• Two bassoons
• Basses
• Two horns in E (sounds a minor
sixth lower than notated)
• Two horns in C
• Two trumpets in E (sounds a
minor sixth lower than notated)
• Three trombones
• Tuba
 Texture
Tessitura
Winds, brass, and
timpani open the English horn presents
movement; chorale* the melody; power
9 style range*

Tessitura

Low range for the Expression Markings

clarinet- chalumeau*
register Indications to
change instruments
or keys; muta means
change in Italian
Expression Markings

Note trombone 1
and 2 are in
alto clef; Texture
now rarely done but
was common Muted strings as
in this era accompaniment;
quiet contrast to the
brass opening
 Texture
Tessitura
Clarinets in
English horn harmony with the
continues the solo English horn; two
10 low clarinets
balance one
English horn

Texture

Bassoon 1 enters
one octave below
the English horn;
two double reeds
blend well
Tessitura together

Bass above cello;

unusual cross voicing*
 Melodic Linking

Melodic linking*
between the cello Texture
and the low flutes;
Interesting tutti chord: each
11 note there is no
section (winds, brass and
dovetailing which
strings) entering at
means there will
different points, and also
be a break between
overlapping each other
the instrument’s sound

Texture

Contrasting section
of only clarinets
and bassoons
 Texture

Strings play the

12 melody;
1st violins and
cellos in octaves
joined by the
violas unison with
the cellos;
2nd violins as
harmony and the Bowing and Phrasing
basses functioning
as the tonic pedal* Return to the
opening texture;
note the different
dynamic markings
for the soloist and
accompaniment;
called
orchestrating with
dynamics*
 Texture

Continuation
13

Form

Transition
passage using
two horns muted;
an example of
repetition and
rhythmic
diminution*

Tessitura

Basses above the

cellos; cross
voicing*
 Doubling

New idea
(related to the
14 first theme by the
minor third
interval) played in
unison by
1st flute and
clarinet; when
unison and at this
range, the oboe
sound tends to Melodic Linking
dominate
Melodic linking*
between the
violas and cellos;
note the
dovetailing*
 Blending of Families

Clarinet melody
15 Texture
accompanied by
Independent low oboes;
pizzicato clarinets can play
bass line; rare for soft in their low
this period register but oboes
to have an have difficulty
extended pizzicato
part for the soli
basses
Tessitura

Flutes and oboes

continue the
melody as the
clarinet drops out;
in unison, and this
tessitura favors the
oboe
 Doubling

16 Winds
continuation with
the double bass
independent line
 Melodic Linking Tessitura

Melodic Characteristic
linking* scale passage
17 between the for clarinet;
1st flute, technically not
1st oboe, and difficult
1st violins
 Tessitura

Note how Dvorak

lowers the oboe at
the D6 as the line
18
becomes too high Texture
for the instrument
Transition
passage for strings

Texture
Expression Markings
Varied
Sul G* written accompaniment
for 1st violin; in the strings;
the G string has a pizzicato and
much thicker sound tremolo
and timbre

Texture

Cellos repeat
the bass line
(page 15); not
pizzicato but
tremolo
 Blending of Families

Duet between
clarinets and 1st Texture
19 violins
Continuation in the
strings
 Harmony
Texture
Change to
C# major New melody
presented in the
oboes
20

Melodic Linking

Melodic
linking* in the
woodwinds;
a variation of
the melody; note
the different
articulations for
the flute and the
clarinets
21

Texture

Violins with the

theme answered
by the cellos
and basses
 Harmony

Change back to
C# minor
Tessitura
22

Trumpets enter Texture

and dominate
the texture; note Fullest tutti
how the spacing of the
puts the trumpet movement; all
virtually alone instruments
one octave marked ff
above
middle C
 Doubling

Woodwinds in
three octaves;
oboes and
23 clarinets in
unison

Tessitura

Violins in
octaves; power
range
 Main Section

Recapitulation
24

Texture

Strings decreased
to only four players
or two stands;
reducing the
numbers of strings
is an excellent way
to reduce the
string sound
 Texture

25 Another
instance of the
string choir Tessitura
being utilized
as a transition; Dvorak
strings are reduces the
reduced even strings even
more the further, to just
previous two solo
passage, now players; violin
only one stand and cello in
of players thirds; in this
tessitura the
cello will have
more power
 Melodic Linking

Melodic linking*
26 between the
st
1 oboe and tutti
1st violins

Texture

Continuation
develops into
a string tutti*
 Texture
27
Coda begins
with a repeat of
the introduction;
Form
bassoons
1st violins end supporting the
the phrase; trombones; this
rhythmic combination is
augmentation* very effective as
the bassoons
dark timbre
blends very well
with the
trombones
28

Tessitura

Double basses end the

Melodic Linking movement with a chord;
Melodic linking very unusual to have the
between the cellos and basses alone in this
violins; violins in thirds situation but the chord is
voiced beautifully.
Dvorak also contrasts the
high chord in the upper
strings with the low
double bass chord.
30

¨ Dvorak Eighth Symphony (1888)

¤ A sunny and cheerful work, this symphony utilizes Bohemian folk
music for much of its inspiration.
¨ Tchaikovsky Symphony no. 6 (1893)
¤ Subtitled the Pathetique, this work has great emotional power.
The composer’s use of colorful orchestration choices makes him
well worth studying.
¨ Carl Nielsen Symphony No. 1 (1892)
¤ This is the first symphony of the Danish composer Carl Neilsen.
The melodies have a distinct Danish lilt to theme and is worth
evaluating its use of folk themes compared to Dvorak’s use.