Largo (from <i>Symphony from the New World</i>) Cover Image

Largo (from <i>Symphony from the New World</i>): Brass Quintet Score & Parts

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Largo (from <i>Symphony from the New World</i>) Cover Image

Largo (from Symphony from the New World): Brass Quintet Score & Parts

By Antonín Dvorák / arr. David Marlatt

Level: Easy-Medium

Item: 81-DBQ9911

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Description
The principal theme from the second movement is equal in fame and popularity to Pachelbel's Canon and Albinoni's Adagio. This incredibly simple and beautiful theme was set to words by one of Dvorák's pupils, William Arms Fisher. The resulting song Goin' Home is now as famous as the original symphonic writing. This incredibly beautiful melody can now be performed by a high school level ensemble. The horn and flugelhorn share in the principal theme and the first trumpet and trombone have a great duet passage in the middle section. A must on every brass program!

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
ISBN10: 1-55472-535-6
ISBN13: 978-1-55472-535-9
UPC: 685462005765
SKU: 81-DBQ9911
Instrumentation: Double Brass Quintet

More about this title

About the Composer: Antonín Dvorák

Antonín Dvorák (1841-1904) was a Czech composer who drew inspiration from folk music, spirituals, and the landscapes of his homeland. His symphonies, chamber works, and orchestral pieces earned him international recognition, and he spent time in America as director of the National Conservatory of Music in New York, where he was deeply moved by American musical traditions.

Dvoák's gift for melody is on full display in the "New World" Symphony, completed in 1893. The second movement's Largo theme has endured for over 130 years, becoming one of the most recognizable melodies in classical music. Its accessibility and emotional directness make it especially valuable for music education, where it continues to inspire musicians of all ages.

Why we love this

This arrangement captures one of the most beloved melodies in music history at a level high school brass players can actually accomplish. The principal theme gets shared between horn and flugelhorn in a way that feels natural to the instruments, and the mid-section duet between first trumpet and trombone gives soloists a moment to shine without requiring virtuosic technique. It's the kind of piece that reminds students why they wanted to play brass in the first place.

What to expect

Serene and introspective, with the warmth of close-position brass sonorities. The melody unfolds like a song without words, inviting listeners into a moment of quiet reflection. There's a gentle strength to the writing that feels noble without being bombastic.

Who it's for

High school brass quintets and festival-bound brass ensembles looking for a Romantic-era masterwork that sits comfortably within their technical reach. This arrangement works equally well for players preparing for contests or concert programs that need a substantial moment of lyrical beauty.

How to get the most out of it

  • Treat the opening theme as a singing line, even though it's instrumental. The melody originally became famous as "Goin' Home," a vocal setting, so shape each phrase with the arc and breath a vocalist would use.
  • Balance the texture when the principal theme passes between horn and flugelhorn. These voices should emerge clearly without the rest of the quintet receding to nothing; support them with warm, sustained harmony.
  • In the trumpet-trombone duet, establish a secure tempo beforehand. Let the players find the naturally conversational phrasing, but anchor the exchange with steady accompaniment from the other voices.
  • Resist the urge to rush. The simplicity of this melody is its strength. A slow, deliberate pace allows the beauty of the writing to land with audiences and gives young players room to focus on tone quality and phrase shape.

How to use it

Program this as a centerpiece in a concert or contest set where it can stand on its own as a substantial work. It pairs well before or after more energetic contemporary pieces, offering contrast and showcasing your ensemble's ability to balance technical facility with musical depth. The dual brass quintet instrumentation also makes it viable as a feature for two small ensembles performing together.

Skills your students will build

  • Sustaining long melodic lines with consistent breath support and tone
  • Balancing principal melody against accompaniment voices in small ensemble settings
  • Phrasing decisions that reflect vocal music conventions
  • Intonation control in close-position harmony
  • Collaborative listening and sensitivity to other players' parts

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