Dvorak received his first musical education learning to play the violin in his village school. His parents ?recognized their son?s musical talent from the first and did all they could to encourage it? (Boynick). In 1857 he was sent to the Prague Organ School where he graduated as a trained organist, second in his class. After working in Prague for several years giving lessons and attempting to compose, his career was greatly aided by the established composer Johannes Brahms who found Dvorak a publisher and got his career underway. Throughout his career Dvorak derived much guidance from othe

Knowing little of social graces, Dvorak was clear on his intentions in the New World: ?I did not come to America to interpret Beethoven or Wagner for the public. That is not my work and I would not waste any time on it. I came to discover what young Americans had in them and to help them express it? (Vacha 78). The composer often exclaimed how impressed he was with Americans unbounded patriotism and enthusiasm. More importantly; Dvorak recognized in African American and Native American music the inflections, bending of notes, surprising turns, and rhythmic under-turnings as special, something he had never heard before. Dvorak even suggested ??the future of this country [America] must be founded upon what are called the negro melodies,? he told the New York Herald at the time? (Vacha 82), and again in an interview in Harper?s New Monthly Magazine that ?inspiration for a truly national music might be derived from the negro melodies or Indian chants? (Dvorak 432).

Although this piece is dominantly Czech, several pieces have been said to have specific American inspirations. ?Dvorak avoided the pitfall of attempting to deploy actual Negro of Indian melodies in his scheme but rather adapted their essence to his own original constructions? (Vacha 84). The largo movement, for example, has generally come to be regarded as the black spiritual ?Goin Home? and Dvorak himself acclaims the inspiration of his middle movements to the Song of the Hiawatha. The scherzo was claimed to be inspired by Hiawatha?s Wedding Feast. Several other themes besides Dvorak?s own resonate throughout the piece as well. There is reference to Beethoven?s ninth symphony at the beginning of the third movement for example plus several notably Czech influences. The main theme from the first movement propagates itself again in parts of the second and third movement and most notably in the coda of the finale (Benett 164).

In the final movement, the Allegro con fuoco, we revisit a common theme from the first movement only with much more intensity. The trumpets, drums, and strin

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