Building a Collection #15: Dvorak's Symphony no. 9 "From the New World"

With recommended recordings

Portions of this post come from a previous post published on April 24, 2023 on Dvorak’s Symphony no. 9 “From the New World”.

Building a Collection #15

Symphony no. 9 in E minor, “From the New World”

By Antonin Dvorak

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“I am now satisfied that the future music of this country must be founded upon what are called negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States.”

-Antonin Dvorak

Symphony no. 9 “From the New World” 

We have arrived at the first work on the list by the great Czech composer Antonin Dvorak.  Entering the top 250 classical works at number 15 is Dvorak’s w final symphony, Symphony no. 9 “From the New World”.  Along with Symphonies 7 & 8, his final three symphonies form what are his greatest contributions to symphonic literature.  Dvorak’s New World symphony became popular almost immediately after its premiere in 1893, and it remains extremely popular today. 

The story of how Dvorak came to compose his New World symphony could form the basis for a novel or a movie, and indeed that has been done with Skvorecky’s novel Dvorak in Love.  Mrs. Jeannette M. Thurber was the wife of a very successful wholesale grocer in New York City, and she was a huge music-lover and supporter of the arts.  In 1885, she founded the National Conservatory of Music in New York, a progressive institution that even enrolled black students at the time.  In 1892, after extensive negotiations with a reluctant Dvorak, she convinced him to come to the United States to be the Director of the Conservatory for a two-year contract for the salary of $15,000 annually (the equivalent of $250,000 today).  Dvorak would teach classes, conduct the student orchestra, and give concerts of his own works.  It was during his time in the United States that Dvorak would compose two of his most well-known and popular works, his “American” String Quartet and the Symphony no. 9 “From the New World” (a name Dvorak gave the symphony).  

Rather than returning home during his first summer in America, Dvorak decided to accept an offer by the Czech-American violinist Josef Kovarik to visit the small village of Spillville, Iowa, which had a relatively large population of Czech immigrants.  There Dvorak felt at home, and was able to complete the symphony in May 1893.  The symphony’s premiere was given at Carnegie Hall in New York City in December 1893.    

Although much has been made of Dvorak being influenced by spirituals, American folk melodies, and Native American music during his time in America, there is nary a trace of any American music in the symphony.  Dvorak does not quote any melodies directly, but rather created new tunes that perhaps mirrored the character of those melodies.  Although we certainly hear folk-type themes in the music, it is all original Dvorak and is therefore just as much Czech music as American.  But wait, what about the beautiful, heartfelt, and sentimental tune from the second movement Largo?  Didn’t Dvorak take that melody from the American spiritual “Goin’ Home”?  Well no, actually that is an original Dvorak melody which certainly sounds like it is taken from an American tune, but it was only later appropriated for “Goin’ Home” by William Arms Fisher, a student of Dvorak’s at the Conservatory.  As Dvorak himself said in a New York Herald interview before the premiere, “I have not actually used any of the melodies.  I have simply written original themes embodying the peculiarities of the music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, harmony, counterpoint and orchestral color.”  Indeed, it is a work of melodic genius which we have been left by Dvorak.

The symphony is written in a classic four movement format as follows:

1. Adagio - Allegro molto

2. Largo

3. Molto vivace

4. Allegro con fuoco

The opening movement opens with an adagio, but shortly breaks into an allegro molto dramatic theme which builds in intensity and speed.  There can be little doubt that the Largo is the true heart of this symphony, and it is among the greatest movements in any symphony ever composed.  The sentimental main theme is then varied and passed around to the woodwinds and strings, eventually slowing to almost a complete stop in a chamber-music type phrase that ends in a heart wrenchingly beautiful chord.  The third movement Scherzo is really like a dance, it moves and bounces with contributions from every part of the orchestra, particularly the timpani, strings, woodwinds, and brass.  This is played as a true molto vivace and in the best performances it truly blazes, until the contrast with the lyrical, lilting theme in the middle of the movement.  The third theme comes through as well, this time in a pulsing sort of dance that is genteel and joyful.  But then the rollicking dancing theme returns to great effect. The finale opens with a loud theme introduced by brass fanfare, but all the previous themes eventually reappear here transformed.  The themes are sharp and serious in tone, and again Dvorak moves us through some faster sections with a lot of detail from brass, strings, and percussion.  We pass through some more calm waters before returning to the main theme which leads to a satisfying conclusion.

The critical reception to Dvorak’s new symphony was rapturous.  At the premiere, the audience gave a thunderous standing ovation at the conclusion of each movement, prompting Dvorak to stand each time and take a bow.  The symphony became popular very quickly, and a universal success.  It also brought Dvorak tremendous notoriety and fame around the world. 

Recommended Recordings

There are what seems like endless recordings of Dvorak’s New World symphony, as I discovered when listening to countless renditions. However, in the process I rediscovered many recordings I once knew well, several I was unfamiliar with, and at least one that was brand new to me that is among the best available.  

Top Overall Choice

A legendary recording for decades now, the 1972 recording of the New World made by the Berlin Philharmonic Orchestra and Czech conductor Rafael Kubelik, on the Deutsche Grammophon label, really delivers the goods.  This is a powerful and authoritative reading made in the warm acoustic of the Jesus-Kirche in Berlin.  At the time this was Herbert von Karajan’s orchestra, and it was the best in the world.  The brass are resplendent, the strings are on point, and Kubelik was in his prime.  There is occasionally some congestion in the sound at climaxes, but this is a minor issue.  The pacing is near perfect, and we repeatedly are reminded of the power and lyricism of the Berlin Philharmonic at their best.  The Largo has nostalgia and nobility, the orchestra plays gloriously, and we feel the homesickness that Dvorak tried to convey.  The Scherzo brings shattering timpani and wonderfully transparent sound so that we hear all the instruments.  The Finale is dispatched with panache and swagger.  A fitting end to what is surely one of the greatest Dvorak recordings of all-time.

Three Outstanding Historic Recordings

The year 1959 saw the making of two of the finest recordings of Dvorak’s New World symphony.  The first is by the Cleveland Orchestra conducted by the legendary George Szell, recorded by CBS/Columbia (now Sony).  The recording has a fair amount of background hiss due to its age, but also has great presence and resonance.  Characteristic of many Szell recordings, we hear crisp articulation, pinpoint precision, and rhythmic vitality.  The horns and woodwinds are terrific, Szell’s vision means there is no time to linger.  Moving quickly is not always a good thing in Dvorak, but here Szell captures Dvorak’s language as well as anyone.  The recorded balance is near ideal, there is excellent transparency, and everything is in perspective.  Szell is rather unsentimental at times, but there is still plenty of feeling and nostalgia in the Largo.  The Scherzo crackles with dance and life, and the finale is dramatic, fresh, and involving.  The urgency is only matched on record by Bernstein (see below).  At times you may feel Szell pushes too hard, but magically he can pull back on the reins and create a satisfying listening experience.  Dvorak was one of the composers most associated with Szell (his recording of the complete Slavonic Dances is a classic), and here is another prime example.

The other 1959 recording is by Ferenc Fricsay and the Berlin Philharmonic, recorded by the Deutsche Grammophon label at the Jesus-Kirche in Berlin.  Fricsay, one of the most talented conductors of the 20th century, tragically died in 1963 at the age of 48 from cancer.  This recording is one of the best he left us.  The sound is rather bright and the forward placement of the orchestra means everything sounds close.  Fricsay creates excitement by using dynamic changes and unique phrasing in a way that enhances the drama.  This is big-boned music making, the brass are bold, and for the emotional climaxes and the Largo, Fricsay and orchestra wear their heart on their sleeve.  This is an unabashedly romantic vision of the work, delivered with weight and energy.

Karel Ancerl and the Czech Philharmonic Orchestra recorded the New World in 1961 for Supraphon, and it is one of the most idiomatic sounding recordings. The Czech Philharmonic have Dvorak in their blood, and we hear the characteristic rustic strings and woodwinds typical of this orchestra.  The timpani is heard to great effect, and the horns, trombones, and trumpets are particularly outstanding.  The English horn in the Largo is especially plangent, and if Ancerl doesn’t linger over the melodies like some, it is all to the good.  The Scherzo moves at an exciting pace, bouncing and lilting.  Ancerl backs off a bit in the Finale, and the movement loses tension a bit by slowing down some.  But overall this is one of the landmark recordings of this work.  The sound is decent, although somewhat boxy and lacking some depth.

Other Recommended Recordings

The New York Philharmonic and Leonard Bernstein recorded this symphony in 1962 at Avery Fisher Hall for CBS/Columbia (now Sony).  It is hands down one of the best recordings of this warhorse.  Bernstein pushes the envelope with the forward momentum, which for me enhances the first, third, and final movements.  He and the NYPO get the pulse and dynamics just right, and the horns, woodwinds, and strings come through very clearly.  The Largo is lyrical, dramatic, intimate and moving with a chamber-music like quality.  The Scherzo is bursting with excitement, and the Finale is definitely played “con fuoco” (with fire).  This is the vibrant Bernstein of the 1960s, not the later eccentric conductor with phrases dragged out for effect.  An outstanding version of the New World.  

The complete Dvorak symphony cycle from the Hungarian conductor Istvan Kertesz and the London Symphony Orchestra was recorded by Decca, and this version of the New World was recorded in 1967.  Kertesz tragically died of drowning while swimming off the coast of Israel in 1973.  Kertesz had earlier recorded this symphony with the Vienna Philharmonic in 1961 (see further down the list), but this one is superior in both sound and performance.  We hear the warm Decca sound, and Kertesz really shapes the opening phrases before the pace picks up as we arrive at the main theme of the first movement.  There is a buoyancy and a dancing quality that is very appealing, and the orchestra is nicely in balance.  The strings of the LSO sing out gloriously, and the first movement repeat is taken (as it should be).  The horns have an authentic “rasping” quality, and the rest of the brass are prominent without being overblown.  The Largo flows naturally, with lovely solo playing, near perfect dynamics and shading.  The emotion is palpable.  The Scherzo is one of the best on record, as it bursts forth with energy, bold horns, and great transparency.  The pastoral second theme is well done, and the all-important playing of the triangle makes a wonderful contribution.  The Finale impresses, with all sections melding into an epic anthem, with an appropriately grand conclusion.

One of the best finds for me while preparing this survey was this recording by the New Philharmonia Orchestra conducted by Hungarian conductor Antal Dorati, recorded in 1967 by Decca.  This recording was inexplicably unavailable for a time, but has thankfully returned.  Recorded with the popular “Phase 4” technique, the sound is up close and vivid, and at times you may find the brass actually too bright.  After a slow introduction, the pace picks up considerably with astounding detail.  The brass sound is luxurious, the strings and woodwinds are very fine, and Dorati shapes phrases attractively.  The Largo alone makes this performance worth hearing, as Dorati leads a masterful rendition of this famous movement.  The Scherzo is fresh and bright, like hearing it anew.  The Finale truly blazes with terrific contributions from the horns and trumpets especially.  This recording is a standout in every way, and is at or near the top.

Kirill Kondrashin and the Vienna Philharmonic Orchestra recorded the New World in 1979, very early in the digital era.  This was one of the first compact discs I owned, and it remains one of the best.  There is some digital glare and shrillness at times, but overall this is a warm and resonant recording made in the old Sofiensaal in Vienna.  This is a more lyrical approach, and while there is still plenty of power and impact, Kondrashin pulls in the listener with his beautiful phrasing and of course the beautiful Vienna strings.  Nothing is pushed too hard, and Kondrashin uses some deft pauses in spots which creates lift and a dancing rhythm.  It is all tightly controlled within a consistent vision, but when needed there is greater impetus and power delivered.  The brass instruments are captured wonderfully, but are never over-the-top or hectic.  The Largo is among the most lovely you will hear, but is not overly indulgent, and perhaps moves a bit faster than most.  The Scherzo is exceptionally musical without being frenetic, and leads to an heroic Finale with pointed phrasing in a transparent acoustic, especially with regard to the horns and bass strings.  If you are searching for something a bit less bombastic, but equally effective, this could be the recording for you.

I have been a big fan of the late Nikolaus Harnoncourt since his groundbreaking complete set of Beethoven symphonies in 1991.  In Dvorak’s New World Harnoncourt brings the same fresh approach to this warhorse.  Taken from a live recording with the Royal Concertgebouw Orchestra of Amsterdam, the sound is top-notch and immediately draws us in.  The first movement is exciting and energetic, and even accelerates a bit as it goes along.  New insights abound, and details are heard as if for the first time.  The brass and woodwinds are phenomenal, and this is certainly orchestral playing of the highest level.  Nothing is routine.  The Largo is memorable, tenderly communicated, and heartfelt.  There is plenty of Bohemian fun, but there is also depth.  I find it a touching, humanistic sort of reading which rejuvenates the spirit and leaves us renewed.  I should mention the dynamic range in the sound is quite wide, so things are at times very soft and very loud.  Keep a hand on the volume control.

The Budapest Festival Orchestra and their long-time director Ivan Fischer are well-known for fresh and vibrant interpretations, particularly of repertoire from eastern Europe.  This recording of Dvorak’s New World is from 2001, and is among the best versions available.  There is forward momentum in the first movement, taken at a faster pace than most, and almost a dance-like quality.  This is a fresh and exciting reading, which brings the music to life vividly.  The brass, timpani, woodwinds, and strings are crisp and transparent and they create a thrilling picture.  Fischer is never heavy or plodding, and he keeps a consistent vision throughout.  The Largo has an innocence about it that comes out of pure melodic feeling, with the phrasing done in a most affecting manner.  The Scherzo is a galloping romp full of joy, color, and some astonishing musicianship.  It is taut, disciplined, and uplifting.  The Finale sings wonderfully and flows like a live performance, including the ending which is drawn out nicely by Fischer.

The late Sir Charles Mackerras had strong ties to Czech music, and this included Dvorak.  He recorded the symphonies several times, but this 2005 recording with the Prague Symphony Orchestra on the Supraphon label is the finest of his New World recordings.  The sound is sumptuous, especially for a live recording.  After a subdued beginning the main theme builds tremendously, complete with superb horn playing.  Mackerras brings a lot of knowledge and experience to this performance, with a great deal of warmth, a consistent pulse, and knowing where to push forward and where to pull back.  The soloist in the Largo is outstanding as well, pulling at our heart strings.  The Scherzo is at once playful and powerful, and the Finale presses ahead toward the end in thrilling fashion.  Altogether a winning performance and recording.

Another very welcome surprise in this survey is the 2009 recording by the Malaysian Philharmonic Orchestra under Claus Peter Flor on the BIS label.  Wow, what a revelation!  I really cannot give this recording enough praise.  The playing is full of character and vibrancy, and the sound is outstanding.  It is as though you are hearing the work for the first time, such is the freshness and nuance.  This will make you sit up and take notice, or at least it did for me.  The strings are sonorous, the timpani cut through wonderfully, and the pace is vigorous and thrilling.  The Largo is beautifully shaped, expressive, and delivered with proper sentiment.  The Scherzo is fantastic, delivered with purpose and drive, and the Finale is among the best recorded with clarity and drama.  There is a sense of completeness I felt at the end that is rare and memorable.  It is also paired with an excellent performance of Dvorak’s Czech Suite.  Malaysia may not be where you would expect great Dvorak to come from, but this is not to be missed.

Finally in the top tier is a 2013 recording by the Bavarian Radio Symphony Orchestra and conductor Andris Nelsons on the BR Klassik label.  The sound is state of the art, and the orchestra sounds glorious throughout.  The pacing is well-nigh perfect, as Nelsons keeps things moving.  Phrasing is lively and animated, dynamics are varied and exciting.  The Largo is exceptional, broad and tender, but never becoming overly sappy.  The Scherzo is a true molto vivace and is played with elan and verve.  The Finale brings it all together in a tour de force with revelatory detail.  While this is one of Nelsons best recordings, for me the stars are really the orchestra and the sound engineers.  

Other recordings to consider

Chicago Symphony Orchestra / Rafael Kubelik (Mercury, 1951)

Czech Philharmonic Orchestra / Vaclav Talich (Supraphon, 1954)

Vienna Philharmonic Orchestra / Rafael Kubelik (Decca, 1956)

Chicago Symphony Orchestra / Fritz Reiner (RCA/Sony, 1957)

Columbia Symphony Orchestra / Bruno Walter (Sony, 1959)

Vienna Philharmonic Orchestra / Istvan Kertesz (Decca, 1961)

Philharmonia Orchestra / Carlo Maria Giulini (EMI/Warner, 1962)

Royal Philharmonic Orchestra / Jascha Horenstein (Urania, 1962) 

Philharmonia Orchestra / Riccardo Muti (EMI/Warner, 1976)

Houston Symphony / Christoph Eschenbach (Erato, 1991)

New York Philharmonic / Kurt Masur (Teldec/Warner, 1992) 

Cincinnati Symphony Orchestra (Telarc, 2005)

Baltimore Symphony Orchestra / Marin Alsop (Naxos, 2007) 

Dallas Symphony Orchestra / Jaap van Zweden (DSO, 2015)

Thank you for reading!  I hope you will join me next time for an all-new post discussing #16 on our list, Beethoven’s Symphony no. 3 “Eroica”.  Until then, take care and happy listening! 

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Notes:

Svejda, Jim. Symphony no. 9 in E Minor. Liner Notes. Dvorak Symphony no. 9 “From the New World”. The New York Philharmonic. Kurt Masur. Teldec. Pp. 4-7.

https://www.azquotes.com/quote/692266

https://en.wikipedia.org/wiki/Symphony_No._9_(Dvo%C5%99%C3%A1k)