Symphony No. 9 in E minor, Op. 95
This guide follows Dvořák’s Symphony No. 9 in E minor, Op. 95 “From the New World” (1893) in four parts: Adagio - Allegro molto (sonata form), Largo (ternary form), Scherzo: Molto vivace (minuet and trio) and Allegro con fuoco (sonata form).
I Adagio - Allegro molto · Sonata form · 10 sections
- I -
- II
- III:
- IV
A slow anticipates the . The fast music begins with the first , a -like call answered by a quick response; the call in later movements. The is in a minor with a lowered seventh, and a gentle in G major resembles the spiritual Swing Low, Sweet Chariot. The works mainly with the main and themes. The brings the later themes back a semitone higher, and the brass sound the in the .
- : A
- : B
- :
- :
- :
- :
- :
- :
Hushed chords in the winds open the (the ), often heard as a musical 'once upon a '. Then the cor anglais sings the main melody (A) in D flat major over muted strings. The (B) moves to C sharp minor and sounds lonely and homesick, then builds to a funeral--like passage over plucked basses. The main melody , and the ends with the opening chords.
- A
- B
- A
Dvořák linked this to the dance at the feast in Hiawatha. The stirring rhythm of the first section (A), with its falling fourths and timpani strokes, recalls the of Beethoven's Ninth. A gentler sits inside the first section, and a second dance with new themes (section B) follows, closer to a Czech folk dance than to anything American. The first section , and a solemn recalls the first 's .
- A
- A: B
- A: A'
- A:
- B: C
- B: D
- B: C'
- B: D
- B: C'
- B:
- A
- A: B
- A: A'
Horns and trumpets announce the (the first ) against sharp chords from the rest of the orchestra. The is a broad melody for clarinet over string tremolos. In the themes from the earlier movements come back and mix with the new ones. The starts in G minor before correcting to the home . The reviews material from the earlier movements, including the 's opening chords, and the symphony ends in E major.
- :
- :
- :
- :
- :
- :
- :
- :
Section boundaries in music are not always sharp; a transition may be felt over a pause or a held chord.
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