Antonín Dvorák


Born: 1841   Died: 1904   Country: Czechoslovakia   Period: Romantic
Widely regarded as the most distinguished of Czech composers, Antonin Dvorák (1841-1904) produced attractive and vigorous music possessed of clear formal outlines, melodies that are both memorable and spontaneous-sounding, and a colorful, effective instrumental sense. Dvorák is considered one of the major figures of nationalism, both proselytizing for and making actual use of folk influences, which he expertly combined with Classical forms in Read more works of all genres. His symphonies are among his most widely appreciated works; the Symphony No. 9 ("From the New World," 1893) takes a place among the finest and most popular examples of the symphonic literature. Similarly, his Cello Concerto (1894-1895) is one of the cornerstones of the repertory, providing the soloist an opportunity for virtuosic flair and soaring expressivity. Dvorák displayed special skill in writing for chamber ensembles, producing dozens of such works; among these, his 14 string quartets (1862-1895), the "American" Quintet (1893) and the "Dumky" Trio (1890-1891) are outstanding examples of their respective genres, overflowing with attractive folklike melodies set like jewels into the solid fixtures of Brahmsian absolute forms.
Dvorák's "American" and "New World" works arose during the composer's sojourn in the United States in the early 1890s; he was uneasy with American high society and retreated to a small, predominantly Czech town in Iowa for summer vacations during his stay. However, he did make the acquaintance of the pioneering African-American baritone H.T. Burleigh, who may have influenced the seemingly spiritual-like melodies in the "New World" symphony and other works; some claim that the similarity resulted instead from a natural affinity between African-American and Eastern European melodic structures.
By that time, Dvorák was among the most celebrated of European composers, seen by many as the heir to Brahms, who had championed Dvorák during the younger composer's long climb to the top. The son of a butcher and occasional zither player, Dvorák studied the organ in Prague as a young man and worked variously as a café violist and church organist during the 1860s and 1870s while creating a growing body of symphonies, chamber music, and Czech-language opera. For three years in the 1870s he won a government grant (the Viennese critic Hanslick was among the judges) designed to help the careers of struggling young creative artists. Brahms gained for Dvorák a contract with his own publisher, Simrock, in 1877; the association proved a profitable one despite an initial controversy that flared when Dvorák insisted on including Czech-language work titles on the printed covers, a novelty in those musically German-dominated times. In the 1880s and 1890s Dvorák's reputation became international in scope thanks to a series of major masterpieces that included the Seventh, Eighth, and "New World" symphonies. At the end of his life he turned to opera once again; Rusalka, from 1901, incorporates Wagnerian influences into the musical telling of its legend-based story, and remains the most frequently performed of the composer's vocal works. Dvorák, a professor at Prague University from 1891 on, exerted a deep influence on Czech music of the twentieth century; among his students was Josef Suk, who also became his son-in-law. Read less
Dvorák: Serenade For Winds;  Janacek, Enescu / Oslo Soloists
Release Date: 04/11/2000   Label: Naxos  
Catalog: 8554173   Number of Discs: 1
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Dvorák: Piano Trios Op 26 & Op 90 / Vienna Piano Trio
Release Date: 11/23/2004   Label: Md&g (Dabringhaus & Grimm) Gold  
Catalog: 3421262   Number of Discs: 1
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Dvorák: Symphony No 9, Symphonic Variations / Alsop, Baltimore SO
Release Date: 05/27/2008   Label: Naxos  
Catalog: 8570714   Number of Discs: 1
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Dvorák: Symphonies No 4 And 8 / Gunzenhauser, Slovak Po
Release Date: 12/11/1992   Label: Naxos  
Catalog: 8550269   Number of Discs: 1
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Dvorák: Slavonic Dances Opp 46 & 72 / Kosler, Slovak Po
Release Date: 06/30/1992   Label: Naxos  
Catalog: 8550143   Number of Discs: 1
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Work: Concerto for Cello in B minor, Op. 104/B 191


1. Allegro
2. Adagio ma non troppo
3. Finale (Allegro moderato)
About This Work
Opus 104 was Dvorák's second and final attempt at writing a cello concerto. The first, a 50-minute work in A major, was written very early in his career (1865), when his style was still markedly derived from those of his models -- of which Read more Mozart, Haydn, Beethoven, and Schubert are most notable. He had also recently encountered the music of Richard Wagner, which perhaps helps to explain the grand scale of the work. The resulting effort was not very satisfactory to the composer, and Dvorák never bothered to orchestrate it; he would not attempt to write another (the work at hand) until thirty years later, after he had written all nine of his symphonies (not to mention numerous operatic, choral, orchestral, chamber, piano, and vocal works). Upon reading through the finished product, completed in February 1895, Dvorák's colleague and friend, Brahms, is said to have remarked, "Why on earth didn't I know that one could write a cello concerto like this? Had I known, I would have written one long ago."

The first performance was given in 1896 in London under Dvorák's own direction, with Leo Stern as the soloist. The cellist was to have been Hanus Wihan (a close friend of the composer, to whom the work was dedicated), but there were misunderstandings surrounding Wihan's suggested revisions (including the addition of a last-movement cadenza) to the publisher without the composer's consent. Wihan did eventually perform the work, as did many other artists; the concerto has retained a solid place in the modern repertory.

Although the concerto's solo part is demanding, the work is by no means a bravura showpiece. Instead, the orchestra and soloist form an integral whole; Dvorák's refusal to accept Wihan's somewhat flashy revisions to the solo part show that he was determined to make the piece much more than a vehicle for virtuosity. Throughout the work there is a freshness of invention and sense of inevitable direction that betrays nothing of the thorough and painstaking revisions Dvorák himself undertook; it seems instead to have flowed effortlessly from the composer's pen.

The first movement (Allegro) is constructed around two main themes, the first of which (in B minor) is surprisingly brief, and the second of which (largely pentatonic, stated by solo horn), was one of the composer's personal favorites. The passing of these ideas back and forth between the soloist and orchestra allows for substantial thematic development; the first, brief theme is given substantially more weight in the eventual recapitulation.

In contrast to the dynamic first movement, the second (Adagio ma non troppo) opens with a more peaceful theme in G major. A middle section in G minor incorporates the melody from Dvorák's own song, "Leave me alone" -- a favorite tune of his sister-in-law, Josefina Kaunitzova, who had taken ill during the concerto's composition. Dvorák was very devoted to her, and her death not long after his return home would cause him to revise the end of the work to include the same song in a lengthy epilogue. The finale (Allegro moderato) is an energetic rondo, followed by an epilogue which recalls the opening of the first movement, as well as the song mentioned above.

-- Allen Schrott, All Music Guide Read less

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