Dvořák's journey to America began with an invitation from Jeannette Thurber, the founder of the National Conservatory of Music in New York. Thurber, a passionate advocate for American music, sought to establish a distinctly American classical music tradition. She believed that Dvořák, with his reputation for incorporating folk elements into his compositions, was the ideal figure to spearhead this movement.

Upon arriving in New York in September 1892, Dvořák was immediately struck by the vibrancy and diversity of American culture. He was particularly fascinated by African American spirituals, which he encountered through his student and assistant, Harry T. Burleigh. Burleigh, an African American baritone, introduced Dvořák to a wealth of spirituals, which the composer found deeply moving and musically rich.

Dvořák's enthusiasm for these musical traditions was evident in his public statements. In an interview with the New York Herald in May 1893, he famously declared, "In the Negro melodies of America I discover all that is needed for a great and noble school of music". This statement caused quite a stir in musical circles, challenging prevailing notions about the sources of 'serious' music.

It was against this backdrop of cultural discovery that Dvořák began work on his Symphony No. 9 in E minor, "From the New World". Completed in 1893, the symphony is perhaps the most famous product of Dvořák's American period. While the composer insisted that he had not used any existing American melodies in the work, the influence of his American experiences is undeniable.

The symphony's second movement, Largo, features a haunting English horn solo that many listeners have likened to a spiritual. While Dvořák maintained that this theme was entirely original, he acknowledged that it was written in the style of a spiritual. The symphony also incorporates rhythms and pentatonic scales reminiscent of Native American music, which Dvořák had studied with interest.

The premiere of the "New World" Symphony at Carnegie Hall on 16 December 1893 was a resounding success. The audience was enraptured, and critics hailed it as a masterpiece. The work's blend of European symphonic tradition with elements suggestive of American folk music seemed to realise Thurber's vision of an American classical style.

Following the triumph of the "New World" Symphony, Dvořák spent the summer of 1893 in the Czech-speaking community of Spillville, Iowa. This rural sojourn provided a welcome respite from the bustle of New York and inspired another of his great "American" works: the String Quartet No. 12 in F major, Op. 96, known as the "American" Quartet.

Composed in just 15 days, the "American" Quartet is infused with the spirit of Dvořák's Midwestern surroundings. The work's simplicity and directness of expression contrast with the grandeur of the "New World" Symphony, reflecting perhaps the composer's more intimate engagement with American rural life.

The quartet's opening theme, played by the viola, has often been compared to Native American melodies, though Dvořák claimed it was inspired by the song of a scarlet tanager he heard in Spillville. The work's pentatonic melodies and syncopated rhythms evoke spirituals and plantation songs, while its overall sunny disposition seems to capture the expansiveness of the American prairie.

Dvořák's American works were not without controversy. Some critics, both in America and Europe, accused him of musical colonialism, suggesting that his use of African American and Native American elements was superficial or exploitative. Others questioned whether these works could truly be considered "American" music when composed by a European.

However, many American musicians and composers were inspired by Dvořák's approach. His validation of indigenous American musical forms as worthy source material for classical composition encouraged American composers to look to their own cultural heritage for inspiration. Composers such as Charles Ives, Aaron Copland, and George Gershwin would later follow in Dvořák's footsteps, creating distinctively American classical music.

Dvořák's influence extended beyond composition. As the director of the National Conservatory, he championed the inclusion of women and African American students, insisting that talent should be the sole criterion for admission. He also advocated for the serious study of African American and Native American music, elevating these traditions in the eyes of the musical establishment.

Despite his success and influence in America, Dvořák ultimately returned to his homeland in 1895. He missed his family and native Czech culture, and found the administrative duties at the Conservatory burdensome. Nevertheless, his American period had a lasting impact on his compositional style. Works composed after his return to Europe, such as the Cello Concerto in B minor, continued to show the influence of his American experiences.

Dvořák's time in America represents a fascinating chapter in musical history, a cross-pollination of cultural influences that produced some of the composer's most enduring works. The "New World" Symphony and the "American" Quartet stand as testaments to Dvořák's openness to new influences and his ability to synthesise diverse musical traditions. More than a century later, these works continue to be celebrated for their beauty and their important role in the development of an American classical idiom.