Введение
Симфония 1893 года Антонина Дворжака. Симфония № 9 ми минор, "Из Нового Света", Op. 95, B. 178, также известная как "Симфония Нового Света", была написана Антонином Дворжаком в 1893 году, когда он занимал должность директора Национальной консерватории музыки Америки с 1892 по 1895 год. Премьера симфонии состоялась 16 декабря 1893 года в Нью-Йорке. Симфония была завершена в здании, где сейчас расположен Музей часов Билли в Спилвилле, штат Айова.
1893 symphony by Antonín Dvořák
The Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 , also known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered in New York City on 16 December 1893. The symphony was completed in the building that now houses the Bily Clocks Museum in Spillville, Iowa.
The Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 , also known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered in New York City on 16 December 1893. The symphony was completed in the building that now houses the Bily Clocks Museum in Spillville, Iowa.
Форма
Типичное исполнение обычно длится около 40 минут. Произведение состоит из четырех частей.
A typical performance usually lasts around 40 minutes. The work is in four movements:
I. Adagio Allegro molto (Адажио Аллегро Мого)
Движение написано в сонатной форме и начинается с вводного лейтмотива в адажио. Этот мелодический контур также появляется в третьей части Струнного квинтета № 3 Дворжака ми мажор и его Юморески № 1. Экспозиция основана на трех тематических темах. Первая, в ми миноре, примечательна своими вопросно-ответными фразами. Вторая – в соль миноре и претерпевает трансформацию, напоминающую чешскую польку. Заключительная тема экспозиции в соль мажоре известна своей схожестью с афроамериканским духовным гимном "Swing Low, Sweet Chariot". Разработка в основном сосредоточена на основной и заключительной темах, а рекапитуляция состоит из повторения основной темы, а также транспозиции второй и заключительной тем на полутон вверх. Движение завершается кодой, в которой главная тема звучит в исполнении духовых инструментов над оркестровым тути. Затем соло кор английский рог исполняет знаменитую главную тему в ре-бемоль мажоре в сопровождении приглушенных струнных. Говорят, что Дворжак заменил кларнет на кор английский рог, так как он напомнил ему голос Гарри Берли. Средняя часть движения содержит фрагмент в до миноре, вызывающий ностальгическое и опустошенное настроение, который в конечном итоге переходит в похоронный марш над пиццикато в басах. За ним следует квази-скерцо, в котором использована тема этого движения, а также основная и заключительная темы первого движения. Ларго завершается мягким возвращением главной темы и вступительными аккордами.
The movement is written in sonata form and begins with an introductory leitmotif in Adagio. This melodic outline also appears in the third movement of Dvořák's String Quintet No. 3 in E major and his Humoresque No. 1. The exposition is based on three thematic subjects. The first in E minor is notable for its announcing and responsive phrases. The second is in G minor and undergoes a transformation such that it resembles a Czech polka. The exposition's closing theme in G major is known for being similar to the African American spiritual "Swing Low, Sweet Chariot". The development primarily focuses on the main and closing themes, and the recapitulation consists of a repetition of the main theme as well as a transposition of the second and closing themes up a semitone. The movement is concluded with a coda, with the main theme stated by the brass above an orchestral tutti. Then a solo cor anglais (English horn) plays the famous main theme in D flat major accompanied by muted strings. Dvořák was said to have changed the theme from clarinet to cor anglais as it reminded him of the voice of Harry Burleigh. The movement's middle section contains a passage in C minor evoking a nostalgic and desolate mood which eventually leads into a funeral march above pizzicato steps in the basses. It is followed by a quasi scherzo that incorporates this movement's theme as well as the first movement's main and closing themes. The Largo is concluded with the soft return of the main theme and introductory chords.
III. Живая многоплодная
Движение – это скерцо, написанное в трёхчастной форме, с влиянием поэмы Генри Уодсворта Лонгфелло «Песнь о Гиавате». Воодушевляющий ритм первой части прерывается тремя – средним разделом. Затем первая часть повторяется, после чего в коде звучит эхо главной темы первой части. Основная тема, особенно её появление в такте 321, имеет явное сходство с начальной темой увертюры «Ганс Хейлинг» Генриха Маршнера.
The movement is a scherzo written in ternary form, with influences from Henry Wadsworth Longfellow's The Song of Hiawatha. The stirring rhythm of the first part is interrupted by a trio middle section. The first part is then repeated, followed by an echo in the coda of the first movement's main theme. The main theme, especially its occurrence in bar 321, bears a close resemblance to the opening theme of the Hans Heiling Overture by Heinrich Marschner.
Влияния
Дворжак интересовался музыкой коренных американцев и афроамериканскими духовными песнями, которые он слышал в Северной Америке. Будучи директором Национальной консерватории, он познакомился с афроамериканским студентом Гарри Т. Берли, который исполнял для него традиционные спиричуалы. Берли, ставший впоследствии сам композитором, говорил, что Дворжак впитал в себя их "дух" прежде, чем писать собственные мелодии. Дворжак заявлял:
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
«Я убежден, что будущее музыки этой страны должно быть основано на так называемых негритянских мелодиях. Они могут стать основой для серьезной и оригинальной композиторской школы, которая будет развиваться в Соединенных Штатах. Эти красивые и разнообразные темы – продукт местной почвы. Это народные песни Америки, и ваши композиторы должны обратиться к ним».
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
Симфония была заказана Нью-Йоркским филармоническим оркестром и впервые исполнена 16 декабря 1893 года в Карнеги-холле под управлением Антона Зайдля. За день до этого, в статье, опубликованной в New York Herald 15 декабря 1893 года, Дворжак более подробно объяснил, как музыка коренных американцев повлияла на его симфонию:
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
«Я фактически не использовал никаких [мелодий коренных американцев]. Я просто написал оригинальные темы, воплощающие особенности индейской музыки, и, используя эти темы как основу, развил их всеми средствами современной ритмики, контрапункта и оркестровой окраски».
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
В той же статье Дворжак заявил, что считает вторую часть симфонии «эскизом или этюдом для более поздней работы, либо кантаты, либо оперы, основанной на «Гиавате» Лонгфелло» (Дворжак так и не написал подобное произведение). Большинство историков сходятся во мнении, что Дворжак имеет в виду пентатонику, которая характерна для обеих этих музыкальных традиций. В статье 2008 года в The Chronicle of Higher Education известный музыковед Джозеф Хоровиц утверждает, что афроамериканские спиричуалы оказали значительное влияние на музыку Дворжака, написанную в Северной Америке, цитируя его из интервью 1893 года в New York Herald, где он сказал: «В негритянских мелодиях Америки я открыл все необходимое для создания великой и благородной музыкальной школы».
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
Дворжак, по-видимому, заимствовал ритмы из музыки своей родной Богемии, как, например, в своих Славянских танцах, а также пентатонику в некоторых своих произведениях, написанных в Северной Америке, из источников афроамериканской и/или индейской музыки. Утверждения о том, что он заимствовал мелодии, часто делаются, но редко подкрепляются конкретными примерами. Подтвержденным примером является песня малиновки-пересмешницы в Квартете. Майкл Штайнберг пишет, что тема флейты соло в первой части симфонии напоминает спиричуал «Swing Low, Sweet Chariot». Леонард Бернштейн утверждал, что симфония была поистине многонациональной по своему происхождению.
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
На Дворжака повлияла не только музыка, которую он слышал, но и то, что он увидел в Америке. Он писал, что не смог бы сочинить свои американские произведения так, как он это сделал, если бы не побывал в Америке. Говорят, что Дворжака вдохновили «широкие открытые пространства» Америки, такие как прерии, которые он, возможно, видел во время своей поездки в Айову летом 1893 года. В отзывах о нескольких исполнениях симфонии встречается фраза «широкие открытые пространства», описывающая то, что вдохновило симфонию и/или чувства, которые она вызывает у слушателей.
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
Дворжак также находился под влиянием стиля и техник, используемых более ранними классическими композиторами, включая Бетховена и Шуберта. Падающие кварты и удары литавр в Scherzo симфонии «Из Нового Света» напоминают Scherzo из хоровой симфонии Бетховена (Симфония № 9). Использование цитат из предыдущих частей в финальной части симфонии напоминает цитаты Бетховена из предыдущих частей в начале Presto финальной части его хоровой симфонии.
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
Это был один из самых больших триумфов Дворжака. После публикации симфонии несколько европейских оркестров вскоре исполнили ее. 21 июня 1894 года Александр Маккензи дирижировал Лондонским филармоническим обществом на первом лондонском исполнении. В Великобритании тема стала широко известна после ее использования в телевизионной рекламе 1973 года, снятой Ридли Скоттом для пекарни Hovis.
Dvořák was interested in Native American music and the African American spirituals he heard in North America. While director of the National Conservatory he encountered an African American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvořák had absorbed their "spirit" before writing his own melodies. Dvořák stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them. The symphony was commissioned by the New York Philharmonic, and premiered on 16 December 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on 15 December 1893, Dvořák further explained how Native American music influenced his symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour. In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera which will be based upon Longfellow's Hiawatha" (Dvořák never actually wrote such a piece). Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions. In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz states that African American spirituals were a major influence on Dvořák's music written in North America, quoting him from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák did, it seems, borrow rhythms from the music of his native Bohemia, as notably in his Slavonic Dances, and the pentatonic scale in some of his music written in North America from African American and/or Native American sources. Statements that he borrowed melodies are often made but seldom supported by specifics. One verified example is the song of the Scarlet Tanager in the Quartet. Michael Steinberg writes that a flute solo theme in the first movement of the symphony resembles the spiritual "Swing Low, Sweet Chariot". Leonard Bernstein averred that the symphony was truly multinational in its foundations. Dvořák was influenced not only by music he had heard but also by what he had seen in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvořák was inspired by the "wide open spaces" of America, such as prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase "wide open spaces" about what inspired the symphony and/or about the feelings it conveys to listeners. Dvořák was also influenced by the style and techniques used by earlier classical composers including Beethoven and Schubert. The falling fourths and timpani strokes in the New World Symphonys Scherzo movement evoke the Scherzo of Beethoven's Choral Symphony (Symphony No. 9). The use of quotations of prior movements in the symphony's final movement is reminiscent of Beethoven quoting prior movements in the opening Presto of the Choral Symphony's final movement. This was one of the greatest public triumphs of Dvořák's career. When the symphony was published, several European orchestras soon performed it. Alexander Mackenzie conducted the London Philharmonic Society in the first London performance on 21 June 1894. In the UK, the theme became familiar to the general public after its use in a 1973 television advert directed by Ridley Scott for the Hovis bakery.