I have conducted the experiment that I suggested in my post on finding true E major in Mendelssohn’s E minor violin concerto. I hypothesized that a second subject in E major nested in an E minor movement will not be subject to the upward key shift that has engulfed the key elsewhere in music. Dvorak’s E minor New World symphony was to be the composition for the experiment. In the first movement recapitulation of the second subject the flute played the theme in a clear E major. Proof number 1. In the Finale the cellos passed muster in the thoughtful lyrical tune that is answered by the flutes, also in E. Proof no 2. But more proof was to come. Dvorak reintroduces E minor as his symphony enters its final phases. But E major appears – and appeared – twice more. The first horn reprises the main theme from the first movement but switches into the major, including a challenging high E in the arpeggio-like motif. Pure E major. From here the composer builds up the tension in E minor with a loud unison statement of the Finale’s main theme. He then races to the end with alternating major and minor chords, ending so satisfyingly to this listener with an E major chord in the winds that is held, fading to nothing but the sound of E major in my soul.