Antonin Dvorak  
Antonin Dvorak
Antonin Dvorak, in full Antonín Leopold Dvořák (born September 8, 1841, Nelahozeves, Bohemia, Austrian Empire [now in Czech Republic]—died May 1, 1904, Prague), first Bohemian composer to achieve worldwide recognition, noted for turning folk material into the language of 19th-century Romantic music.

Dvořák was born, the first of nine children, in Nelahozeves, a Bohemian (now Czech) village on the Vltava River north of Prague. He came to know music early, in and about his father’s inn, and became an accomplished violinist as a youngster, contributing to the amateur music-making that accompanied the dances of the local couples. Though it was assumed that he would become a butcher and innkeeper like his father (who also played the zither), the boy had an unmistakable talent for music that was recognized and encouraged. When he was about 12 years old, he moved to Zlonice to live with an aunt and uncle and began studying harmony, piano, and organ. He wrote his earliest works, polkas, during the three years he spent in Zlonice. In 1857 a perceptive music teacher, understanding that young Antonín had gone beyond his own modest abilities to teach him, persuaded his father to enroll him at the Institute for Church Music in Prague. There Dvořák completed a two-year course and played the viola in various inns and with theatre bands, augmenting his small salary with a few private pupils.

The 1860s were trying years for Dvořák, who was hard-pressed for both time and the means, even paper and a piano, to compose. In later years he said he had little recollection of what he wrote in those days, but about 1864 two symphonies, an opera, chamber music, and numerous songs lay unheard in his desk. The varied works of this period show that his earlier leanings toward the music of Ludwig van Beethoven and Franz Schubert were becoming increasingly tinged with the influence of Richard Wagner and Franz Liszt.

Among the students Dvořák tutored throughout the 1860s were the sisters Josefina and Anna Čermáková. The musician fell in love with the elder sister, Josefina, but she did not reciprocate his feelings. The anguish of his unrequited love is said to be expressed in Cypresses (1865), a number of songs set to texts by Gustav Pfleger-Moravský. In November 1873 he married the younger sister, Anna, a pianist and singer. The first few years of the Dvořáks’ marriage were challenged by financial insecurity and marked by tragedy. Anna had given birth to three children by 1876 but by 1877 had buried all of them. In 1878, however, she gave birth to the first of the six healthy children the couple would raise together. The Dvořáks maintained a close relationship with Josefina and the man she eventually married, Count Václav Kounic. After several years of regular visits, they bought a summer house in the small village of Vysoká, where Josefina and the count had settled, and spent every summer there from that point onward. Dvořák composed some of his best-known works there.

In 1875 Dvořák was awarded a state grant by the Austrian government, and this award brought him into contact with Johannes Brahms, with whom he formed a close and fruitful friendship. Brahms not only gave him valuable technical advice but also found him an influential publisher in Fritz Simrock, and it was with his firm’s publication of the Moravian Duets (composed 1876) for soprano and contralto and the Slavonic Dances (1878) for piano duet that Dvořák first attracted worldwide attention to himself and to his country’s music. The admiration of the leading critics, instrumentalists, and conductors of the day continued to spread his fame abroad, which led naturally to even greater triumphs in his own country. In 1884 he made the first of 10 visits to England, where the success of his works, especially his choral works, was a source of constant pride to him, although only the Stabat Mater (1877) and Te Deum (1892) continue to hold a position among the finer works of their kind. In 1890 he enjoyed a personal triumph in Moscow, where two concerts were arranged for him by his friend Pyotr Ilyich Tchaikovsky. The following year he was made an honorary doctor of music of the University of Cambridge.

Dvořák accepted the post of director of the newly established National Conservatory of Music in New York in 1892, and, during his years in the United States, he traveled as far west as Iowa. Though he found much to interest and stimulate him in the New World environment, he soon came to miss his own country, and he returned to Bohemia in 1895. The final years of his life saw the composition of several string quartets and symphonic poems and his last three operas.


Bedřich Smetana, Dvořák’s senior by 17 years, had already laid the foundations of the Czech nationalist movement in music, but it was left to Dvořák to develop and extend this in an impressive series of works that quickly came to rank in popularity with those of his great German contemporaries. The reasons for Dvořák’s popularity lie in his great talent for melody and in the delightfully fresh Czech character of his music, which offered a welcome contrast to the heavier fare of some of his contemporaries.

Dvořák’s technical fluency and abundant melodic inspiration helped him to create a large and varied output. He composed in all the musical genres and left works that are regarded as classics in all of them, with the possible exception of opera. All Dvořák’s mature symphonies are of high quality, though only the sombre Symphony No. 7 in D Minor (1885) is as satisfactory in its symphonic structure as it is musically. (It should be explained that Dvořák’s mature symphonies were long known as No. 1 to 5, even though he had written four earlier [and unnumbered] ones. All nine of his symphonies have since been renumbered from the traditional order to their actual order of composition.) Dvořák’s Symphony No. 9 in E Minor (From the New World; 1893) remains his best-known work, partly, no doubt, because it was thought to be based on African American spirituals and other influences gained during his years in the United States. Although this may be true to some extent, the music is also characteristically Bohemian in its themes. However, the Symphony No. 9 is in no way superior to the Symphony No. 6 in D Major (1880) or the Symphony No. 8 in G Major (1889) and is actually less characteristic of the composer than these other works. Of the four concerti Dvořák wrote, only the Cello Concerto in B Minor (1895) can safely be called a classic.

In spite of the fact that his work in the medium is sometimes overstrained, Dvořák’s chamber music is also of high quality. The Piano Quintet in A Major (1887) is one of the glories of chamber music, and the string quartets, Opuses 51 (1879), 105 (1895), and 106 (1895), the String Sextet, Opus 48 (1878), and the Dumky Trio, Opus 90 (1891), also rank high. The choral works, so popular when they first appeared, have suffered the fate of most late 19th-century choral music, yet the Stabat Mater (1877) and Te Deum (1892) are among the better examples of their kind. Opera remained the one medium that proved recalcitrant to Dvořák’s genius, though he wrote 10 of them, notably Rusalka (1900). Many of Dvořák’s most attractive works are among his miscellaneous, less-ambitious ones—the Slavonic Dances (1878, 1886) and other piano duets, the Symphonic Variations (1877), the Bagatelles (1878), the Gypsy Songs (1880), and the Scherzo Capriccioso (1883).

Some critics have considered Dvořák’s chief faults to be an overly discursive and repetitive manner, occasional lapses in taste, and a weakness of design in his larger works. Such shortcomings, however, amount to little in the light of the astonishing fertility of his melody and the simplicity and directness with which he achieves his ends. As might be gathered from his music, Dvořák had an attractive personality. He was a humble and deeply religious family man of simple tastes and a great lover of nature.

David Mathias Lloyd-Jones

Encyclopćdia Britannica


Dvorak was born in a small village on the banks of the river Vltava, approximately 45 miles north of Prague. He left school aged 1 1 to become an apprentice butcher, and the following year was sent to Zlonce to learn German. Most of his time, however, he spent on music lessons, learning the organ, viola, piano, and basic composition. His interest in music was such that, despite misgivings, his father eventually allowed him to enrol at the Prague Organ School in 1857. There Dvorak received the strict training of a church musician, but after classes attended as many orchestral concerts as he could, enjoying especially the music of contemporary composers such as Wagner and Schumann.

After graduating in 1859, Dvorak became principal violist in the new Provisional Theatre orchestra, conducted after 1866 by Sinetana. The need to supplement his income by teaching left Dvorak with limited free time, and in 1871 he gave up the orchestra m order to compose. He fell in love with one of his pupils and wrote a song cycle, Cypress trees, expressing his anguish at her marriage to another man. He soon overcame his despondency, however, and in 1873 he married her sister Anna Cermakova.

In 1874 Dvorak entered no fewer than 15 works — including his Third symphony — for the Austrian National prize. He won and received a welcome cash prize and, perhaps more importantly, the admiration and support of Brahms, who was one of the judges. Brahms put Dvorak in touch with his own publisher, Simrock, who commissioned the popular first set of Slavonic dances in 1878. These robust pieces, notable for sudden mood switches from exuberant dance tunes to dark and melancholy melodies, were played not only in the musical centres of Europe, but also in the United States and England.

From this point on Dvorak's fame escalated. In 1884 he received a warm welcome in London, the first of nine visits. Several of his major works, including the Seventh and Eighth symphonies, were written for performance in England. Often regarded as Dvorak's greatest work, the Seventh symphony powerfully expresses a mood of tragedy through solemn music overlaid with ominous and foreboding overtones. In contrast, the more relaxed Eighth symphony makes use of folk melodies, conveyed with rhythmic verve and colourful orchestration.

Dvorak was appointed Professor of Composition at the Prague Conservatoire in 1891, but soon after took up the offer of Directorship of the National Conservatury of Music in New York.

He stayed for three years in the United States, spending summer holidays in Spillville, a Czech-speakmg community in Iowa. It is from this period that some of his best-loved music comes, notably the Symphony No. 9 (''From the New World") and the American string quartet. Both these works make use of themes influenced by American Indian folk melodies and Negro spirituals. As Dvorak later admitted, something of their melancholy can be attributed to the homesickness he felt during his time in America. Just before leaving in 1895 he produced his last major symphonic work, the remarkable Cello concerto, which in its expressive power and melodic beauty rivals even the Seventh symphony.

Returning to Prague with some relief, Dvorak resumed his post at the Prague Conservatoire and m 1901 became its director. For the last three years of his life he devoted the greater part of his creative energies to working on symphonic poems and operas. He died in 1904.

Dvorak's importance lies partly in his nationalist outlook. During the latter half of the nineteenth century, Bohemia (later part of the Czech Republic) - long suppressed under German rule - fought for its political and cultural independence.

Dvorak, like Smetana and Janacek, consciously looked to Bohemian folklore for artistic inspiration, imitating traditional melodies, as in the Slavonic dances, or using traditional legends, as in his best-known opera, Rusalka, composed in 1900. Dvorak exercised a great gift for absorbing folk styles and reproducing them in the context of the Classical tradition.


Cleveland Orchestra - George Szell
Slavonic Dances, Op.46
Slavonic Dances, Op.72

Columbia University Orchestra
Symphony No. 8 
in G major
Allegro con brio
Allegretto grazioso - Molto vivace
Allegro, ma non troppo

Columbia University Orchestra
Symphony No. 9 
"From the New World"
Adagio - Allegro Molto
Scherzo - Molto vivace
Allegro con fuoco

Uni Witten-Herdecke chor
Stabat mater op 58
Eja, Mater, fons amoris 
Tui Nati vulnerati

Fac me vere tecum flere
Virgo virginum praeclara
Quando corpus morietur


Jerusalem Quartet
String Quartet No. 13 in Gmajor Op.106 

Allegro moderato
Adagio ma non troppo
Molto vivace
Finale: Andante sostenuto - Allegro con fuoco


Albeniz Ensemble
Piano trio no. 4 "Dumky"
Lento Maestoso
Andante moderato
Lento maestoso
Turtle Rock String Quartet
String quartet no. 12 "The American"
Allegro ma non troppo
Molto vivace
The Best of Dvorak
Sinfonia Nş 9 Em Mi Menor, "Do Novo Mundo", OP. 95
1. Adagio. Allegro Molto
2. Largo
3. Scherzo. Molto Vivace - Poco Sostenuto
4. Allegro Con Fuoco

5. Abertura Carnaval, OP. 92
6. Scherzo Capriccioso Em Ré Bemol Maior, OP. 66

Royal Philharmonic Orchestra

The Best of Dvorak 2
1. Rapsódia
2. Abertura Dramática
3. Wanda-Abertura, Op. 25

Suite em La maior op. 98b
4. Andante con moto
5. Allegro
6. Moderato (alla pollacca)
7. Andante
8. Allegro

9. Otelo, Abertura de concerto em fa sustenido menor op. 93

Dvorak : Symphony No.1 in C Minor, "The Bells of Zlonice"
Vladimir Valek
Prague Radio Symphony Orchestra
Antonín Dvořák - Symphony No. 2 in B flat major, Op. 4, B. 12
Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák - Symphony No. 2 in B flat major, Op. 4, B. 12
1. Allegro con moto 11'29
2. Poco adagio 15'29
3. Scherzo, allegro con brio 12'07
4. Finale, allegro con fuoco 9'57

Antonín Dvořák - Symphony No. 3 in E flat major, Op. 10, B. 34
Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák - Symphony No. 3 in E flat major, Op. 10, B. 34
1. Allegro moderato 10'57
2. Adagio molto, tempo di marcia 18'42
3. Finale, allegro vivace 8'28

Antonín Dvořák - Symphony No. 4 in D minor, Op. 13, B. 41
Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák - Symphony No. 4 in D minor, Op. 13, B. 41
1. Allegro 9'34
2. Andante e molto cantabile 11'27
3. Scherzo, allegro feroce 6'34
4. Finale, allegro con brio 9'50

Antonín Dvořák - Symphony No. 5 in F major, Op. 76, B. 54
Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák - Symphony No. 5 in F major, Op. 76, B. 54
1. Allegro ma non troppo 9'24
2. Andante con moto 8'27
3. Allegro scherzando 7'20
4. Finale, allegro molto 13'11

Antonín Dvořák - Symphony No. 6 in D major, Op. 60, B. 112
Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák - Symphony No. 6 in D major, Op. 60, B. 112
1. Allegro non tanto 12'52
2. Adagio 10'56
3. Scherzo, Furiant 6'55
4. Finale, allegro con spirito 10'34

Antonín Dvořák - Symphony No. 7 in D minor, Op. 70, B. 141
Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák - Symphony No. 7 in D minor, Op. 70, B. 141
1. Allegro maestoso 12'42
2. Poco adagio 10'21
3. Scherzo, vivace 7'49
4. Finale, allegro 9'49

Antonín Dvořák - Symphony No. 8 in G major, Op. 88, B. 163
Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák - Symphony No. 8 in G major, Op. 88, B. 163
1. Allegro con brio 9'43
2. Adagio 11'38
3. Allegretto grazioso 6'00
4. Allegro ma non troppo 8'35

Antonin Dvorak - Symphony No. 9 in E Minor  - New World Symphony
The Symphony No. 9 in E Minor "From the New World", Op. 95, B. 178, popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 during his visit to the United States from 1892 to 1895. It is divided in four movements:

I. Adagio 0:00
II. Largo 12:07
III. Scherzo 24:14
IV. Allegro con fuoco 31:29

Dvořák: Symphony No. 9 "From The New World" / Karajan · Vienna Philarmonic
Great presentation of the Great Wiener Philharmoniker conducted by Herbert von Karajan, playing the 9th Symphony of Antonin Dvorak "From the new world".

Gran presentación de la Filarmónica de Viena conducida por Herbert von Karajan, interpretando la novena sinfonía de Antonin Dvorak "Sinfonía del Nuevo Mundo".

(C) Telemonde 1992, UMG and all their respective owners. No commercial use of this material.

(0:37) 1st mvt (Adagio, Allegro Molto)
(10:42) 2nd mvt (Largo)
(23:30) 3rd mvt (Scherzo, Molto Vivace)
(32:07) 4rth mvt (Allegro con fuoco)

Greetings to FahrenheitJethro

Antonín Dvořák - Concerto for Piano and Orchestra in G minor, Op.33, B. 63
Rudolf Firkusny, piano. Ruggiero Ricci, violin. Zara Nelsova, cello. Saint Louis Symphony Orchestra, Walter Susskind

Antonín Dvořák - Concerto for Piano and Orchestra in G minor, Op.33, B. 63
1. Allegro agitato 17'58
2. Andante sostenuto 8'10
3. Finale, allegro con fuoco 10'34

Antonin Dvorak - Slavonic Dances [Op. 46 & Op. 72]
The Slavonic Dances are a series of 16 orchestral pieces composed by Antonín Dvořák in 1878 and 1886 and published in two sets as Opus 46 and Opus 72 respectively; they were inspired by Johannes Brahms's own Hungarian Dances.

The types of dances upon which Dvořák based his music include the furiant, the dumka, the polka, the sousedská, the skočná, the mazurka, the odzemek, the špacírka, the kolo and the polonaise.

Opus 46
0:00 No. 1 in C major: Presto (Furiant)
3:38 No. 2 in E minor: Allegretto scherzando (Dumka)
8:21 No. 3 in A-flat major: Poco allegro (Polka)
12:31 No. 4 in F major: Tempo di Minuetto (Sousedská)
20:19 No. 5 in A major: Allegro vivace (Skočná)
23:31 No. 6 in D major: Allegretto scherzando (Sousedská)
28:05 No. 7 in C minor: Allegro assai (Skočná)
31:19 No. 8 in G minor: Presto (Furiant)

Opus 72
34:58 No. 1 (9) in B major: Molto vivace (Odzemek)
38:33 No. 2 (10) in E minor: Allegretto grazioso (Starodávný)
43:42 No. 3 (11) in F major: Allegro (Skočná)
46:51 No. 4 (12) in D-flat major: Allegretto grazioso (Dumka)
51:48 No. 5 (13) in B-flat minor: Poco adagio (Špacírka)
54:08 No. 6 (14) in B-flat major: Moderato, quasi Minuetto (Starodávný -"Ancient"-)
57:43 No. 7 (15) in C major: Allegro vivace (Kolo)
1:00:51 No. 8 (16) in A-flat major: Grazioso e lento, ma non troppo, quasi tempo di Valse (Sousedská)

Antonín Dvořák - Requiem
Krassimira Stoyanova, soprano
Elīna Garanča, mezzo-soprano
Stuart Skelton, tenor
Robert Holl, bass
Symphonieorchester des Bayerischen Rundfunks
Mariss Jansons, conductor
Antonín Dvořák - Stabat Mater (Harnoncourt)
Stabat Mater
Nikolaus Harnoncourt conducts the Arnold Schoenberg Choir and Chamber Orchestra of Europe
Jacqueline du Pré, Dvořák Cello Concerto in B minor op.104
Chicago Symphony Orchestra
Daniel Barenboim

1. Allegro 0:00
2. Adagio ma non troppo 15:27
3. Finale. Allegro moderato 28:45

Dvorák - Concerto in B minor Op. 104 / Mstislav Rostropovich
Antonín Dvořák - Rusalka
Antonín Dvořák - Rusalka
Opera in 3 acts Part I
1. Overture 3'17
2. Ho, ho, ho! (Three dryads, the Watersprite) 7'23
3. Watersprite, my father dear! (Rusalka, The Watersprite) 3'59
4. He comes here frequently (Rusalka, The Watersprite) 4'27
5. O moon high up in the deep sky (Rusalka, The Watersprite, Jezibaba) 7'49
6. Your ancient wisdom knows everything (Rusalka, Jezibaba) 8'29
7. Abracadabra! (Jezibaba, The Watersprite, The Hunter) 4'29
8. Here she appeared and again disappeared (The Prince, The Hunter) 2'14
9. The hunt is over, return home at once (The Prince, The Naiads, The Watersprite) 5'13
10. I know you're but magic that will pass (The Prince) 1'41
1. Well then, my dear boy (The Gamekeeper, The Turnspit) 8'03
2. A week now do you dwell with me (The Prince, The Foreign Princess) 8'45
3. Festive music; ballet 5'21
4. No one in this world can give you (The Watersprite) 4'23
5. White blossoms all along the road (Chorus, The Watersprite) 3'02
6. Rusalka, daughter, I am here! (The Watersprite, Rusalka) 6'17
7. Strange fire in your eyes is burning (The foreign Princess, The Prince, The Watersprite) 6'23
1. Insensible water power (Rusalka) 7'29
2. Ah, ah! Already you have come back? (Jezibaba, Rusalka) 5'59
3. Uprooted and banished (Rusalka, The Naiads) 3'32
4. That you're afraid? Don't be silly! (The Gamekeeper) 6'11
5. Hair, golden hair I have (Three Dryads, The Watersprite) 8'05
6. Where are you, my white doe? (The Prince) 4'12
7. Do you still know me, love? (Rusalka, The Prince, The Watersprite) 10'52
The Watersprite: Marcel Rosca, bass
Rusalka, the Naiad: Ursula Füri-Bernhard, soprano
Jezibaba, the Witch: Nelly Boschkova, mezzo-soprano
The Prince: Water Coppola, tenor
The Foreign Princess: Tiziana K. Sojat, mezzo-soprano
First Dryad: Tamara Felbinger, soprano
Second Dryad: Vesna Odoran, soprano
Third Dryad: Martina Gojceta, soprano
The Gamekeeper: Zeljco Grofelnik, baritone
The Turnspit: Martina Zadro, soprano
The Hunter: Vitomir Marof, baritone
Academic Choir "Ivan Goran Kovacic"
Zagreb Philharmonic Orchestra. Alexander Rahbari, conductor
Alexander Rahbari, conductor
Antonin Dvorák: Rusalka - Moon-aria - The Norwegian Opera 2009
Antonin Dvorák´s (1841-1904) Rusalka is one of the great, romantic operas. Directed by new opera director Paul Curran and with musical direction by Norway's international conducting star Eivind Gullberg Jensen.

Enjoy our norwegian international singer Solveig Kringlebotn as Rusalka.

Antonin Dvorák: Rusalka - Anna Netrebko
Antonín Dvořák: Čert a Káča / Chalupecký - Jalovcová - Březina - Vele /
The Devil and Kate
Ovčák Jirka - Jaroslav Březina
Káča -- Kateřina Jalovcová
Máma -- Ivana Ročková
Čert Marbuel -- Luděk Vele
Lucifer -- Bohuslav Maršík
dirigent Jan Chalupecký
Národní divadlo v Praze
Antonin Dvořák: Romance for Violin and Orchestra performed by Tanja Sonc
Tanja Sonc, violin & Slovenian Philharmonics; conductor: Keri-Lynn Wilson
Dvořák - American Quartet, Prazak Quartet
00:00 - 1. Allegro ma non troppo
07:00 - 2. Lento
15:12 - 3. Molto vivace
19:00 - 4. Finale: vivace ma non troppo
Antonín Dvořák - Czech Suite, Op. 39
Janácek Philharmonic Orchestra, Theodore Kuchar
Antonín Dvořák - String Quintet in G major, Op. 77
STAMITZ QUARTET. Bohuslav Matousek, violin I. Josef Kekula, violin II. Jan Peruska, viola. Vladimir Leixner, cello. Jiri Hudec, double-bass

Antonín Dvořák - String Quintet in G major, Op. 77
1. Allegro con fuoco 12'27
2. Scherzo, allegro vivace-l'istesso tempo, quasi allegretto 9'22
3. Poco andante 8'42
4. Finale, allegro assai 7'40

Antonín Dvořák - String Quartet in E flat major, Op. 51 'Slawisches'
STAMITZ QUARTET. Bohuslav Matousek, violin I. Josef Kekula, violin II. Jan Peruska, viola. Vladimir Leixner, cello.

Antonín Dvořák - String Quartet in E flat major, Op. 51 'Slawisches'
1. Allegro ma non troppo 11'06
2. Dumka (Elegia) 8'32
3. Romanza, andante con moto 7'31
4. Finale, allegro assai 7'24

Antonín Dvořák - String Quartet in D minor, Op. 34
STAMITZ QUARTET. Bohuslav Matousek, violin I. Josef Kekula, violin II. Jan Peruska, viola. Vladimir Leixner, cello.

Antonín Dvořák - String Quartet in D minor, Op. 34
1. Allegro 12'29
2. Alla Polka 6'44
3. Adagio 7'09
4. Finale, poco allegro 6'55

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