Dvořák, Antonín (Leopold)

Klaus Döge

https://doi.org/10.1093/gmo/9781561592630.article.51222
Published in print: 20 January 2001
Published online: 2001

(b Nelahozeves, nr Kralupy, Sept 8, 1841; d Prague, May 1, 1904). Czech composer. With Smetana,
Fibich and Janáček he is regarded as one of the great nationalist Czech composers of the 19th century.
Long neglected and dismissed by the German-speaking musical world as a naive Czech musician, he is
now considered by both Czech and international musicologists Smetana’s true heir. He earned
worldwide admiration and prestige for 19th-century Czech music with his symphonies, chamber music,
oratorios, songs and, to a lesser extent, his operas.

1. Early Years, 1841–59.

Dvořák was born into the unsophisticated cultural and social background of a Czech family. His father,
František, was a butcher and innkeeper who played the zither, originally to entertain his guests, in
later years professionally. His mother, Anna, came from the family of an estate steward in Uhy. Dvořák
was the eldest of their eight children. He received his first musical education in 1847 on entering the
village school, where the teacher and Kantor Joseph Spitz taught him singing and gave him violin
lessons. He made such good progress on the violin that he soon participated in the musical life of the
countryside, playing in church and with the village band, which performed the usual repertory of
ceremonial and popular music such as polkas, mazurkas, marches and waltzes. In autumn 1853, after
Dvořák had spent six years at the school, his parents sent him to the nearby small town of Zlonice,
where he could continue to learn German (essential in Bohemia at that time), besides continuing his
musical education with the church choirmaster Joseph Toman and with the Kantor Antonín Liehmann,
who taught him the violin, piano, organ and continuo playing, and music theory. In late 20th-century
biographies it was still claimed that Dvořák was sent to Zlonice primarily to learn his father’s trade of
butchery and was a butcher’s apprentice for more than two years, but it has now been proved
(Burghauser, D1993–4) that his supposed certificate of apprenticeship dated 2 November 1856 is a
forgery. The story must therefore be seen as a myth obscuring the fact that Dvořák’s parents
recognized their son’s musical talent from the first and did all they could to encourage it. After his
years with Liehmann, Dvořák was sent in autumn 1856 to the northern Bohemian town of Česká
Kamenice, where he attended the German municipal school and was taught the organ and music
theory by Franz Hanke. A year later, in autumn 1857, he began to study at the Prague Organ School,
where the teachers included Karl Pietsch, Josef Krejčí, František Blažek, Josef Leopold Zvonař and
Josef Foerster; his subjects included continuo, harmony, modulation, the playing of chorales,
improvising, and counterpoint and fugue. (Some of his exercises have survived.) At the time he
attended the Maria Schnee secondary school. From November 1857 he played the viola in the concerts
of the Cecilia Society conducted by Anton Apt. The programmes included works by Beethoven,
Mendelssohn, Spohr, Schumann, Raff and Wagner. Musical life in Prague at the time also gave Dvořák
a chance to hear Liszt conducting his own works (in March 1858) and to attend concerts at which Hans
von Bülow conducted and Clara Schumann performed (both in March 1859). The extensive collection

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of scores owned by his fellow student and friend Karel Bendl gave him the opportunity to extend and
deepen his knowledge of music. Dvořák finished his studies at the Prague Organ School in July 1859 as
the second best student of his year, and he left as a trained organist.

2. Working as a musician in Prague, 1859–71.

In late summer 1859 Dvořák joined the dance band of the elder Karel Komzák as a viola player. The
band played in restaurants and for balls, and when Dvořák’s application for the post of organist at the
church of St Jindřich was rejected he stayed on as a permanent member. When the newly built
Provisional Theatre, the first Czech theatre in Prague, opened in November 1862 in the wake of
Vienna’s more liberal policy on nationalism (it was constructed at state expense) Komzák’s band
formed the nucleus of the theatre orchestra, with Dvořák as principal violist. The first conductor was
Johann Nepomuk Maýr, under whom Dvořák played in many German (Mozart, Weber, Lortzing) and
French stage works (Auber, Méhul, Halévy, Boieldieu and Offenbach), but above all in Italian operas by
Rossini, Donizetti, Bellini and Verdi. After the end of 1866, when Smetana took over as conductor,
works by Czech (Smetana, Šebor, Bendl, Blodek) and Slav composers (Glinka, Moniuszko) increasingly
began to be included in the repertory. Besides playing at the theatre the orchestra was sometimes
called upon for concerts given by the Academic Reading Union and the Artistic Society, or for concerts
on Žofín Island. In February and November 1863 Dvořák played in the three concerts conducted by
Wagner in the Žofin concert hall which included his Faust overture, the overture to Tannhäuser, the
prelude to Lohengrin and extracts from Die Meistersinger von Nürnberg, Tristan und Isolde, Die
Walküre and Siegfried.

At the beginning of 1865 Dvořák began giving piano lessons to the daughters of a Prague goldsmith,
Josefína and Anna Čermáková (Anna later became his wife), but he remained a member of the
Provisional Theatre orchestra until the summer of 1871, and to all appearances was simply a practical
musician. Privately, however, he was composing. The String Quintet in A minor op.1, the String
Quartets nos.1–4, the first two symphonies (both 1865), the song cycle Cypřiše (‘Cypresses’, B11), the
Concerto in A for cello with piano accompaniment (1865, B10) and the opera Alfred make up a series of
works in which he moved almost systematically from small-scale to larger forms. Setting out from the
example of Mozart and middle-period Beethoven, he progressively extended his musical language by
way of Mendelssohn, Schumann and Wagner to the state of composition in his own time.

3. Early years as a Czech composer, 1871–82.

In June 1871, shortly before he left the orchestra of the Provisional Theatre, Dvořák announced in the
journal Hudební listy (which informed the musical world of Prague) that he was composing, and
working on an opera to a Czech libretto by Bernard J. Lobeský entitled Král a uhlíř (‘King and Charcoal
Burner’, B21). He showed parts of it to Ludevít Procházka (editor of the journal and a former pupil of
Smetana), who thought highly of Dvořák’s talents and began to promote his career at the song recitals
he organized in Prague. The first song by Dvořák performed at one of these recitals (10 December
1871) was Vzpomínáni (‘Remembrance’, B23/5, to a text by Eliška Krásnohorská), in a concert that also
included works by Bendl and Fibich. Two more of his songs were performed in April 1872: Proto (‘The
Reason’, B23/2, Krásnohorská) and Sirotek (‘The Orphan’, B24, text by K.J. Erben). An Adagio from a

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piano trio (B25 or 26, both lost) was given its première several months later, with Procházka at the
piano, and soon afterwards (22 November 1872) the Piano Quintet in A (B28) also received its
première.

In the same year Smetana performed the overture to King and Charcoal Burner at a concert on Žofín
Island (14 April 1872). The first of Dvořák’s works to appear in print, the song Skřivánek (‘The Lark’,
B30/3), was published in 1873, in the November supplement to the first volume of the journal Dalibor.
However, the event that established Dvořák among the leading composers of Prague occurred on 9
March 1873 when the Prague Hlahol, conducted by Bendl, gave a successful performance of his
patriotic cantata for male voices Hymnus: Dědicové bílé hory (‘Hymn: the Heirs of the White
Mountain’, B27). Encouraged by its reception, Dvořák offered King and Charcoal Burner to the
management of the Provisional Theatre, which accepted the work and promised to produce it. He was
now making his living solely by giving piano lessons and applied to Svatobor, a Prague association for
the support of artists, for a stipendium to enable him to visit Liszt in Weimar, so that he could seek his
advice and study with him. The application was refused, and to improve his financial situation Dvořák
began teaching at Jan August Starý’s private music school. A little earlier, in August 1873, rehearsals
had begun under Smetana for King and Charcoal Burner. The opera was clearly influenced by
Wagnerian principles of declamation, harmony and orchestral treatment. During rehearsals it soon
appeared that its almost insuperable demands on soloists, chorus and orchestra were likely to be
beyond the capabilities of the Czech stage. Rehearsals were halted in September 1873 and the opera
was taken off the programme.

Dvořák did not let this setback shake his belief in himself as a composer, but it caused him to
undertake a critical assessment of his work so far and to seek new directions. He destroyed many of
the works from what he later described as his ‘mad period’ of 1866–71 and began his opus numbering
again. His compositions perceptibly moved away from modern German influence, turning instead to a
new classicism of form and content, with elements of Slavonic folklore, of which he made a special
study. The first works from this transitional period included the string quartets no.5 in F minor (1873,
B37), no.6 in A minor (B40) and no.7 in A minor (B45), and the second version of King and Charcoal
Burner (B42), which had not a note in common with the first version, was ‘national rather than
Wagnerian’, as Dvořák himself said, and was very successful at its première (24 November 1874).

In February 1874 Dvořák, by now married, was appointed organist at the church of St Vojtěch), a post
he held until the beginning of 1877. However, the appointment had no influence on his composition,
which continued to consist mainly of instrumental music and opera. A few months later, soon after
Smetana had performed his Third Symphony (B34) and the scherzo from his Fourth (B41), Dvořák
applied for the Austrian State Stipendium granted to artists. His application of July 1874 was
accompanied by 15 compositions, including symphonies, overtures and the Písně z Rukopisu
Královédvorského (‘Songs from the Dvůr Králové Manuscript, B30); in 1875 the jury, consisting of
Eduard Hanslick, Johann Herbeck and Otto Dessoff, granted him 400 gulden. Dvořák received this
stipendium on four further occasions. When he applied in 1875 the jury (Dessoff’s place had been
taken by Brahms) granted another 400 gulden. His application of 1876, accompanied by the Piano Trio
in G minor (B56), the String Quartet no.8 in E (B57), the Fifth Symphony (B54) and a version with
piano accompaniment of the Stabat mater (B71), won him 500 gulden; he received 600 gulden in 1877
and 400 gulden again in 1878.

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Apart from the financial considerations, however, Dvořák’s application of 1877 was crucial to his future
career. The music he sent included another set of quartets, the Serenade for strings (B52), the Theme
with Variations for piano (B65), and the Moravské dvojzpěvy (‘Moravian Duets’, B60 and 62), which he
had had printed himself. Brahms was so enthusiastic about the duets that in early December 1877 he
wrote to his Berlin publisher Fritz Simrock:

As for the state stipendium, for several years I have enjoyed works sent in by Antonín Dvořák
(pronounced Dvorschak) of Prague. This year he has sent works including a volume of 10
duets for two sopranos and piano, which seem to me very pretty, and a practical proposition
for publishing. … Play them through and you will like them as much as I do. As a publisher,
you will be particularly pleased with their piquancy. … Dvořák has written all manner of
things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented
man. Moreover, he is poor! I ask you to think about it! The duets will show you what I mean,
and could be a ‘good article’.

This letter from Brahms, who soon formed a close friendship with Dvořák, set off a kind of avalanche of
publication and performance. Simrock accepted the duets, and in one of his earliest letters to Dvořák
commissioned the Slovanské tance (‘Slavonic Dances’, for piano four hands, B78, also orchestrated,
B83). On 15 November 1878, when they appeared, the critic Louis Ehlert wrote an enthusiastic review
in the Berlin National-Zeitung which – as Ehlert said to Dvořák – led to ‘a positive assault on the sheet
music shops’, and made the previously unknown Czech composer’s name ‘in the course of a day’.

Suddenly illuminated by the bright spotlight of publicity, Dvořák was besieged by requests from
German publishers and at the end of 1878 his compositions began to be played in international concert
halls. Within a few months the Slavonic Dances were performed in Dresden, Hamburg, Berlin, Nice,
London and New York; as soon as the Slavonic Rhapsodies (B86) had been published in 1879 by
Simrock (now Dvořák’s principal publisher) they were performed in Dresden, Berlin, Vienna, Budapest,
Lugano and Baltimore. Early in November 1879 Joseph Joachim’s quartet performed the String Sextet
(B80) in Berlin. Joachim, his wife Amalie, Hans Richter, Hans von Bülow, Jean Becker and Hanslick
were important advocates of Dvořák’s music. At the end of 1879 Richter asked Dvořák to write a
symphony for Vienna (the Sixth, B112), Joseph Hellmesberger asked for a string quartet (op.61, B121)
and Simrock suggested the composition of a violin concerto for Joachim (op.53, B96/108).

Dvořák’s success abroad was recognized in Bohemia. In Prague, as early as 1878, he conducted a
concert of his own works which was received with great enthusiasm. Shortly afterwards he became an
honorary member of the male-voice choral society Hlahol, and like Smetana before him, was later
made chairman of the musicians’ section of the Artistic society. Dvořák was now the composer
commissioned for special occasions in Prague; he wrote the Slavostní pochod (‘Festival March’, B88)
for the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth, the
Pražské valčíky (‘Prague Waltzes’, B99) for the ball of the Národní Beseda and a Polonaise (B100) for
the evening dance given by the Academic Reading Union.

Besides commissioned works and smaller occasional pieces, however, and after completing the
orchestral Legendy (‘Legends’, B122), he was chiefly occupied with the composition of a historical
grand opera, Dimitrij (B127), to a libretto by Marie Červinková-Riegrová. The libretto was based on an
episode of Russian history forming a sequel to that of Boris Godunov, and its dramatic situations, love

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scenes and crowd scenes appealed strongly to Dvořák. He was unable to finish it, as he had intended,
in time for the planned opening of the Czech National Theatre (built with donations from the Czech
population of Bohemia and Moravia), expected to take place in September 1881. But when the theatre
burnt down (in August 1881) before the official opening there was no more need for haste, and a year
later (8 October 1882) Dimitrij was given its première at the New Czech Theatre. It was a great
success for Dvořák, who regarded opera as very important to his art.

However, in spite of revisions made on the advice of Simrock and Hanslick, he was disappointed in his
hopes that Dimitrij would make its way into the international musical world like his earlier opera Šelma
sedlák (‘The Cunning Peasant’, B67), successfully performed in Dresden in 1882 and Hamburg in 1883.
A major reason was the increase during the 1880s of political tension which also affected theatres and
concert halls. Dvořák had been made aware of anti-Czech feeling at the Viennese performance of his
third Slavonic Rhapsody at the end of 1879. Hanslick, reviewing the concert, strongly condemned any
intrusion of politics into art in assessing Dvořák’s music, but his adjurations were in vain. Richter had
promised to give the first Viennese performance of the Sixth Symphony at the end of 1880, but it was
cancelled and then repeatedly postponed. Since it was thought unwise in Vienna to give prominence to
works by a Czech composer, the symphony fell victim to the political climate, causing Dvořák to write
to Richter in October 1884:

In the Viennese papers yesterday I read the programme of the Philharmonic concerts in
Vienna … I am glad you have remembered my humble self again, but I have some misgivings
about the choice of the Slavonic Rhapsody, because Viennese audiences seem to be
prejudiced against a composition with a Slav flavour, so it may not be as successful as it
might in other circumstances. It went very well in London and Berlin, and will do well
elsewhere too, but in the national and political conditions prevailing here I am afraid it will
not be well received.

In view of these tensions Dvořák – who had once written to Simrock ‘I just wanted to tell you that an
artist too has a fatherland in which he must also have a firm faith and which he must love’ – wrote to
his publisher several times after 1880 asking for the title-pages of his compositions to be printed in
both German and Czech, and for editions of his vocal works to give the texts in both languages. He also
wanted his first name to be printed simply as ‘Ant.’, since this ‘would be equally good in both
languages’ as a neutral abbreviation for both German ‘Anton’ and Czech ‘Antonín’. At this turbulent
period rather ill-timed requests from Vienna such as those made by Franz Jauner in 1882 and Hanslick
in 1884, both asking him to write music to a German libretto for Vienna and guaranteeing
performance, placed Dvořák, who saw himself as ‘an artist who hopes to be of some significance’, in a
difficult personal and artistic situation: a dilemma of whether to choose loyalty to his country or
disloyalty in order to achieve success among ‘enemies’ abroad.

It has often been suggested that this situation was directly connected with Dvořák’s adopting a new
musical language, less permeated by a Slavonic tone and dramatic, dark and aggressive rather than
carefree. He used that language in the works of this period: there are already hints of it in the String
Quartet in C op.61 (B121), it is present in the Scherzo capriccioso op.66 (B131), and finds clear
expression in the Piano Trio in F minor op.65 (B130), the Husitská overture op.67 (B132), the Ballad in
D minor for violin and piano (B139) and the Seventh Symphony op.70 (B141). The absence from some

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of the autograph manuscripts (opp.65, 66 and 67) of the comment ‘Bohu díky’ (‘Thanks be to God’) –
which Dvořák had regularly added at the end of each work from op.2 onwards and resumed with op.70
– suggests that he was indeed suffering some distress in these years.

4. On the way to international fame, 1883–92.

Early in August 1883 Dvořák was invited to London by the Philharmonic Society to conduct orchestral
performances of his works in the coming season. A few months later, at the beginning of November
1883, the London music publishing firm of Novello asked him to conduct a performance of his Stabat
mater during his visit and to compose a work for soloists, chorus and orchestra for the 1885
Birmingham Festival and conduct it himself. Dvořák was already known in London from performances
of such works as the Slavonic Dances (conducted in 1879 and 1880 by Manns), the Slavonic Rhapsodies
(conducted in 1880 and 1881 by Manns, Richter and Hallé), the String Sextet (given by Joachim in
1880) and the Sixth Symphony (conducted by Manns in 1882), and they had received favourable
reviews. However, the performance of the Stabat mater under Barnby on 10 March 1883, received
enthusiastically by both the audience and the critics, was probably the main reason for the
Philharmonic Society’s invitation.

On 5 March 1884 Dvořák travelled to England for the first time and on 13 March conducted the Stabat
mater in the Albert Hall. A week later he conducted his overture Husitská, the Sixth Symphony and the
Slavonic Rhapsody no.2 in St James’s Hall, and on 22 March, at the Crystal Palace, he conducted the
Scherzo capriccioso and the Nocturne in B (B47). The musical world of London regarded his visit as an
‘event of “red letter” significance’, and fêted him as the ‘musical hero of the hour’. The Philharmonic
Society made him an honorary member. He promised it a new symphony, and he was expected to write
choral works for both the forthcoming Birmingham Festival and the Leeds Festival of 1886.

Dvořák’s great success in England led to eight more visits. In November 1884 he travelled to London
and to Worcester (where he gave a performance of the Stabat mater); in April 1885 he visited London
for the première of the Seventh Symphony; in August 1885 he gave concerts in London and in
Birmingham, where he conducted the British première of the cantata Svatební košile (‘The Spectre’s
Bride’); in October 1886 he visited London, Birmingham and Leeds, where he gave the première of the
oratorio Svatá Ludmila (‘St Ludmilla’); in April 1890 he went to London to give a performance of the
Eighth Symphony; in July 1891 he visited London and Cambridge, where he received an honorary
doctorate, and in October of the same year he went to Birmingham for the première of the Requiem.
His last visit, in March 1896, was to London for the première of the Cello Concerto.

The importance to Dvořák of his success in England can scarcely be overestimated: at a time when
political feeling was detrimental to the reception of his work in Germany and Austria, England, far
removed from continental bickering, appreciated him properly as an artist and contributed greatly to
the growth of his international fame. For English audiences, Dvořák was able to base his commissioned
choral works on Czech subjects (a fairy tale in The Spectre’s Bride, a legend in St Ludmilla) without
fearing that his work would meet with prejudice even before it was heard. Dvořák met prominent
figures of English musical society who judged his work without arrogance or preconceptions, in
contrast to the sometimes tactless conduct of some of his continental friends. He also became friendly
with Henry and Alfred Littleton, owners of Novello, who were interested in publishing Dvořák’s works,
and this placed him in a better position in his dealings with Simrock. Early in 1884 (probably as a

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result of Dvořák’s invitation to England) a discordant note had crept into their relationship: Simrock
began complaining of the poor quality of Dvořák’s manuscripts and at first tried to prevent the planned
London production on 20 March 1884 of the Husitská overture, which had not yet been published. A
dispute over the fee for the Seventh Symphony almost ended the friendship that had existed for many
years. Simrock offered Dvořák 3000 marks, exactly a fifth of the sum he paid Brahms for a symphony,
and half what the Czech composer was expecting. However, a rupture was averted when they agreed
on a compromise: Dvořák undertook to compose a second set of Slavonic Dances, while Simrock paid
what the composer expected for the symphony.

Dvořák’s visits to England also marked the beginning of a period free from financial anxieties, and he
was able to fulfil his dream of buying a small country property in Vysoká, a village near the south
Bohemian silver-mining town of Příbram. From that time he spent the summer months there with his
family, in a retreat where he felt ‘as if cut off from the world’ and ‘cared nothing for all the world’, but
instead could ‘enjoy the beauties of God’s nature’. In composition he concentrated first on the works
commissioned for England (1884–6), then on the second set of Slavonic Dances (1886) and in 1887 and
1888 he turned his attention mainly to the opera Jakobín (‘The Jacobin’), his first stage work since
Dimitrij. He remarked to his friend Alois Göbl, ‘I believe that this time the doubters will be satisfied
with my gift for drama, and even surprised by it!’ During these two years he also revised earlier,
unpublished works. They included the Symphonic Variations (B70); the Second, Third, Fourth and Fifth
Symphonies; the String Quartet no.8 in E (B57); the String Quintet with double bass (B49); and the
song cycle Cypresses (B11), which he arranged for string quartet (B152) under the title Ohlas písní
(‘Echo of Songs’) and revised as Písně milostné (‘Love Songs’)(B160). Simrock immediately published
most of these works, with opus numbers that do not correspond to the chronology of their composition.
From 1889, however, Dvořák composed new music, including the Poetické nálady (‘Poetic Tone
Pictures’) for piano (B161); the Eighth Symphony (B163); the Requiem (B165); the Dumky Trio (B166);
and the three concert overtures opp.91–3, V přírodě (‘In Nature’s Realm’, op. 91, B168), Karneval
(‘Carnival’, op.92, B169) and Othello (op.93, B174). These works show a new side of the composer that
he described to his friend Emanuel Chvála, saying ‘Here I am a poet as well as a musician.’

Dvořák’s growing fame brought him many honours and awards. In June 1889 he was awarded the
Austrian Order of the Iron Crown and a few months later he went to Vienna to be received by the
emperor. In February 1890 the Prague Artistic Society held a banquet in his honour, two months later
he received an honorary doctorate from the Czech University of Prague and shortly afterwards he was
elected to the Czech Academy of Sciences and Arts. In between receiving these honours, Dvořák went
on a spring concert tour to Moscow and St Petersburg as a result of his friendship with Tchaikovsky,
who had conducted several concerts in Prague in 1888 and met Dvořák there on a number of
occasions. Finally, some months after his return from Russia Dvořák heard that the University of
Cambridge wanted to give him an honorary doctorate.

5. Dvořák as a teacher.

At the end of January 1889 Josef Tragy, managing director of the Prague Association for the Promotion
of Music, had offered Dvořák a post as professor of composition and instrumentation at Prague
Conservatory. At first he refused, but at the end of October 1890, when he was asked again, he

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accepted the offer. A contributing factor to his decision was probably the rupture with Simrock over
the fee for the Eighth Symphony (subsequently published by Novello as Symphony no.4). Dvořák took
up his post at the Conservatory in January 1891.

He was not a natural teacher; his lectures and his comments on students’ work were too often
determined by his own moods. Nonetheless, according to the students he taught them well. He aimed
to make them think for themselves: he would criticize and discuss weak passages and errors in their
compositions and get them to say what effects they wanted to achieve, but refrained from providing all
the answers, so that they had the useful experience of working out their own alternatives. Dvořák
expected a great deal of hard work from his students (‘If you cannot do that, then you are no
composer’, he said), as well as originality (‘I have heard something like that before; try again and think
about it … just as we were trying to do’). He also required mastery of the skills of composition (‘The
writing must be clean and distinct; a composer is equally responsible for all the parts, principal and
accompanying parts alike’) and suggested they should be studied in the works of Mozart, Beethoven,
Schubert, Schumann and Wagner. Another of his demands was an abundance of ideas, for he saw
composition as the ability ‘to make a great deal – a very great deal – out of nothing much’.

Among his outstanding students in Prague were Vitězslav Novák, Oskar Nedbal and Josef Suk; his
American students included Rubin Goldmark (later the teacher of Copland and Gershwin), William
Arms Fisher and Harry Rowe Shelley (who later taught Charles Ives).

6. The American period, 1892–5.

In June 1891 Jeannette Thurber, president of the National Conservatory of Music in America (in New
York), had asked Dvořák if he would accept the post of artistic director and professor of composition
there from October 1892 at an annual salary of $15,000 (25 times what he was paid at the Prague
Conservatory). Besides Dvořák’s fame in the USA, where his works had been performed since 1879, a
significant reason for the offer was his reputation as a composer in a nationalistic style; Mrs Thurber
had long dreamt of the creation of a national American style of art music. (The story that Sibelius was
considered as an alternative to Dvořák is apocryphal.) Dvořák did not find the decision easy to make.
On the one hand the salary was a powerful inducement since, at almost 50, he had to provide for six
children aged between three and 13. On the other hand, acceptance would mean not only leaving his
country, his beloved Vysoká and all his friends to confront another world, but would also create family
problems. However, once these were solved Dvořák signed a contract with the National Conservatory
in December 1891. His acceptance immediately affected his life. He spent the period from early
January to the end of May 1892 on a concert tour of Bohemia, saying goodbye to his friends. For these
concerts – there were more than 40, often with Dvořák as pianist – he composed the Rondo in G minor
for cello and piano (B171) and arranged for the same instruments the eighth Slavonic Dance from the
orchestral set op.46 (B172) and the piano piece Klid (‘Silent Woods’, B173). At Mrs Thurber’s request
he wrote the Te Deum (B176) for the celebration of the 400th anniversary of Columbus’s discovery of
America.

On 15 September 1892 Dvořák left Prague with his wife, his daughter Otilie and his son Antonín; they
arrived in New York on 26 September after an Atlantic crossing of nine days on the SS Saale. Dvořák
was officially welcomed to the National Conservatory on 1 October and made his first American
appearance as a conductor at Carnegie Hall in a concert which gave the Te Deum its première on 21

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October. It was on this occasion that the music patron Thomas Wentworth Higginson said in his
address that Dvořák ‘may help add the new world of music to the continent which Columbus found’,
reiterating the expectations that American musical society had of the Czech composer’s presence in
New York. Dvořák took those expectations seriously. On 27 November 1892 he wrote to his friend
Hlávka:

The Americans expect great things of me. I am to show them the way into the Promised
Land, the realm of a new, independent art, in short a national style of music! … This will
certainly be a great and lofty task, and I hope that with God’s help I shall succeed in it. I have
plenty of encouragement to do so.

In search of possible basic material for a characteristic style Dvořák asked Henry Thacker Burleigh, a
black student at the National Conservatory, to sing him spirituals and plantation songs from the South
and he asked the music critic Henry Krehbiel for transcriptions of Amerindian melodies; he probably
also studied Theodore Baker’s book Über die Musik der nordamerikanischen Wilden (1882). In many
newspaper articles and interviews he expressed his belief that a national American style could be
based on such traditional elements, among which he included pentatonism in the melodic line, a
flattened leading note, plagal cadences, drone accompaniment, rhythmic ostinato and strongly
syncopated rhythms (with the Scotch snap constituting a special case). These features occur in the
works composed in the USA more often than in any other works. The American compositions were the
Ninth Symphony ‘From the New World’ (B178), the String Quartet no.12 in F (B179), the String
Quintet in E♭ (B180), the Sonatina in G for violin and piano (B183), the Suite in A for piano (B184) and
the Biblické písně (‘Biblical Songs’, B185).

Dvořák spent the summer vacation of 1893 in Spillville, a village in Iowa with a mainly Czech
population, with his family (the children who had stayed at home in Prague went to the USA especially
for this holiday). He went from Spillville to visit the World’s Columbian Exposition in Chicago, where
he gave a concert on ‘Czech Day’, conducting his Eighth Symphony, three of the Slavonic Dances from
the second series (B147) and the overture Domov můj (‘My Homeland’). In September he went on an
excursion to St Paul and saw the Minnehaha Falls, which put him in mind of the heroine of
Longfellow’s Amerindian epic Hiawatha; Mrs Thurber had given Dvořák an opera libretto based on the
poem and he was working on it (sketches are extant in his American notebooks). At the end of
September the family returned to New York, viewing the Niagara Falls on the way.

In New York Dvořák resumed his work at the National Conservatory, and to all outward appearances
the first months of this second academic year were satisfactory. Simrock had expressed interest in
Dvořák’s new compositions, and Anton Seidl, conductor of the New York PO, conducted the première of
the Ninth Symphony at Carnegie Hall on 16 December 1893. It was one of Dvořák’s greatest successes.
Mrs Thurber had asked if the contract could be extended for another two years, and Dvořák agreed.
However, the economic crisis of April 1893 was disastrous for Mrs Thurber’s husband, whose money
had provided essential financial support for the National Conservatory, and who was now facing
bankruptcy. Mrs Thurber was no longer in a position to fulfil her obligations to Dvořák; even the
payment for the last months of the first academic year, 1892–3, was considerably delayed. At the
beginning of the second academic year she was able to pay him only part of the salary due.
Nonetheless, after spending the summer holidays in Bohemia he returned to the USA in October 1894.

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The atmosphere was however quite different from that of the two previous academic years; he missed
his family, he was having difficulty with his creative work – mainly the Cello Concerto (B191) – and he
was very homesick:

If I could work with as few anxieties as I do in Vysoká, I would have been finished long ago.
However, I cannot do it here – I have to teach on Monday – I have Tuesday free – but I am
more or less busy on the other days of the week – in short, I cannot give so much time to my
work – and if I could I would not feel like it – and so on. In short, it would be best to be back
in Vysoká – I am refreshed there, I rest, I am happy. Oh, if only I were home again!

On 16 April 1895 Dvořák and his wife returned to Bohemia, and in August 1895, after taking legal
advice, he told Mrs Thurber, who still owed him money, that he would not be returning to the USA in
accordance with his contract.

7. Final years, 1895–1904.

For the first few months after his return from the USA Dvořák’s time was devoted chiefly to resting and
enjoying the company of his family and the pleasant surroundings of Vysoká. However, there were soon
official engagements to be met: Dvořák was present when the revision of Dimitrij he had undertaken in
the USA was performed successfully in Prague; he went to the funeral of his sister-in-law Josefína
Kounicová (née Čermáková), whom he commemorated in the second and third movements of the Cello
Concerto with a quotation from the song Lasst mich allein (op.82 no.1, B157). He went to Karlsbad to
meet Simrock and Hanslick again after a gap of some years, and resumed teaching at Prague
Conservatory on 1 November 1895. He went to London in March 1896 to conduct the première of the
Cello Concerto and to Vienna several times. There he met Richter and Bruckner, visited Brahms, and
attended Brahms’s funeral in April 1897.

While Dvořák’s creative work in 1895 followed a familiar path with the completion of a string quartet
begun in the USA (op.105, B193) and the composition of the Quartet in G op.106 (B192), in 1896–7 he
presented himself in a new and surprising guise as a composer of programme music. Taking his
subjects from ballads by the Czech poet K.J. Erben, he wrote the symphonic poems Vodník (‘The Water
Goblin’, B195), Polednice (‘The Noon Witch’, B196), Zlatý kolovrat (‘The Golden Spinning-Wheel’, B197)
and Holoubek (‘The Wild Dove’, B198). The symphonic poem Píseň bohatýrská (‘A Hero’s Song’, B199)
was not based on a text, and its programme was only roughly outlined later in a letter. However, it is
not as surprising as was generally supposed that Dvořák should turn to the symphonic poem at that
time: the literary element in his musical language, which began to be heard in the Poetic Tone pictures
(1889) and marked the Dumky Trio and the overtures opp.91–3, was a strong factor in the American
works as well. In the sketches for the Ninth Symphony he gave the slow movement the title ‘Legenda’;
the String Quartet no.12 in F (‘The American’) had autobiographical features, in its pastoral tone, the
quotation of birdsong in the third movement and the echoes of church music in the fourth; and the
American sketchbooks contain ideas for a symphony to be entitled Neptune. Dvořák planned to give its
third and fourth movements the titles ‘Chorale’ and ‘Storm, Calm, and Fortunate Return to Land’.

In October 1897 Dvořák was appointed a member of the jury for the Viennese Artists’ Stipendium, and
a year later was awarded a medal ‘litteris et artibus’. Soon afterwards he was elected a member of the
committee of experts on copyright in music, and in March 1901 he was made a member of the

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Herrenhaus of the Austrian government (he attended only one session). Several of his operas were
produced at the National Theatre to celebrate his 60th birthday, and St Ludmilla was performed in a
stage version. The Artistic Society organized several concerts for the occasion and gave a banquet in
Dvořák’s honour. In November 1901 he was appointed director of the Prague Conservatory. All the
compositions from Dvořák’s last years were operas. Shortly before his death, he tried to explain why:
‘Over the last few years I have written nothing but operas. Not out of vanity or the desire for fame, but
because I consider opera the most advantageous of genres for the nation too. Large sections of society
hear such music, and hear it very often.’ The first of these late operas was Čert a Káča (‘The Devil and
Kate’, B201), to a libretto based on a Czech fairy tale. It was followed in 1901 by Rusalka (B203), a fairy
tale opera in three acts taking Fouqué’s Undine as its subject, with elements from Hans Christian
Andersen’s The Little Mermaid and Gerhart Hauptmann’s fairytale play Die versunkene Glocke. The
première of Rusalka was given on 31 March 1901 in Prague, and it was Dvořák’s greatest operatic
success. In Vienna, Mahler also expressed interest in it; the fact that the projected Viennese
production never took place has long been attributed solely to Mahler. He is known to have had doubts
about the opera, but to a great extent the failure was due to the composer himself, who was asking a
very high fee (Mahler successfully supported Dvořák in his request to the management), and the time-
consuming tactics he employed in the negotiations, which lasted several months. Another contributing
factor was an increase in political pressure on opera productions in Vienna, resulting in the staging of
fewer works by Czech composers, whose participation in the official musical life of the city had to be
reduced.

Dvořák’s last opera, Armida (B206), was based on a world-famous literary work, Torquato Tasso’s epic
poem Gerusalemme liberata. In choosing this subject Dvořák may have been influenced by both his
liking for the story and the idea that after the success of Rusalka as a Czech national opera, he should
write a stage work of an international character and at last succeed as an operatic composer outside
Bohemia. However, when the première was given in Prague on 25 March 1904, it was considerably less
successful than Rusalka had been three years earlier. Dvořák had to leave the first performance of
Armida early, because of a sudden pain in the region of his hip. After five weeks of illness, he died on 1
May 1904. Four days later he was buried in the Vyšehrad cemetery beside many other famous Czechs.

8. Artistic character.

Dvořák’s music, often described as merely ‘spontaneous’ or ‘national’ in character, is in fact marked by
its variety, complexity and versatility. His musical career contains sudden breaks and contrasts. In his
early period as a composer (1860–65), he himself described the situation as ‘not that I was unable to
produce music, but I had not technique enough to express all that was in me. I had ideas but I could
not utter them perfectly’. At this stage, in teaching himself, he tried to bring his musical language close
to the technical standards of Mozart, Beethoven and Mendelssohn so that he could make use of their
formal structures for his own purposes. A particularly important feature of his formal design is a well-
developed technique of thematic separation and variation, as well as an awareness of the problems of
the cyclical entity: a relationship between the main themes of the four movements of the First String
Quartet and a five-note rhythmic motif heard clearly in all four movements of the First Symphony
provide coherence.

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Dvořák’s style in his ‘New German’ phase (from the late 1860s to 1872) seems to show him turning
away from this approach: in instrumental compositions sonata form loses its normal character, notably
in the String Quartets nos.2–4 and in the Tragická ouvertura. Short thematic units that are constantly
changed, shaped and developed determine the melodic structure, which increasingly moves away from
phrases of equal length and traditional accented metre. A constant movement to distant tonal regions,
tonal ambiguity and the undermining of familiar tonal functions (for example, the E minor quartet, no.
4, ends in B major) mark the harmony in this advanced style, which moves between musical extremes
going beyond the ‘New German’ examples, and containing a high degree of subjective expressivity.

In 1873 Dvořák began to turn away from this style too and from the influence of Liszt and Wagner,
although he was not at that time influenced by Brahms, as is still sometimes claimed (he began taking
Brahms as a model no earlier than 1877). Once again melodic invention is expressed in equal phrase
lengths and repetition, and themes are highlighted and developed in a traditional manner. Modulations
– often reminiscent of Schubert – are more moderate, more conventional and more easily grasped.
Boldness of form is susperseded by organization that has links with the style of 1865, but sonata form
is now more balanced, logical and more recognizable.

At the same time as Dvořák turned to a new classicism, elements of Slavonic folklore begin to
permeate his musical language, a style he had learnt from Smetana and from friends (taking the
dumka, for example, from Janáček), and through his study of folk collections such as those of František
Sušil and K.J. Erben. The absence of an upbeat in the melody – like the Czech language, which always
places the emphasis on the first syllable (ex.1) – some pentatonic phrasing, the sharpened fourth
degree in the minor, strongly syncopated rhythm with elements from dances such as the polka,
mazurka, spacirka, sousedská and furiant (in the third movement of the Sixth Symphony) and contrasts
derived from the dumka (as in the second movement of the String Sextet) are characteristics of this
musical language, with which Dvořák created something original from traditional elements (although
there are some examples of direct quotation). For example, the main theme of the Slavonic Dance op.
46 no.7 (B83) refers to the melody of the dance song Tetka kam dete? (‘Where are you going, Auntie?’,
ex.2) and the main theme of the Maličkosti (‘Bagatelles’, B79) uses the opening of the folksong Hrály
dudy (‘The bagpipes were playing’, ex.3). This style reaches a peak in Dvořák’s so-called first Slavonic
period, from about the mid-1870s to 1881 (the Moravian Duets to the Sixth Symphony).

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Ex.2 a) Tetka kam dete? [Where are you going, Auntie?]; b) U Jamolic na rohu [At Jamolice, at the corner];
c) Slavonic Dance op.46 no.7

Ex.3 a) Hrály dudy u Popudy (Erben) [The bagpipes were playing at Popuda]; b) Bagatelles op.47 no.1

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In the following years, up to 1886, it is superseded by a phase in which the music is considerably more
subtle and full of detail; although there is only a slight suggestion of the Slav colouring that dominated
preceding works, moments of ‘Czechness’ arise through quotations such as the Hussite hymn in the
Husitská overture and the 15th-century hymn tune in the Seventh Symphony. The prime feature of this
phase, however, is its dramatic quality, producing a hitherto unusual formal dynamism in works
ranging from the String Quartet no.11 to the Piano Trio in F minor, the Husitská overture and the
Seventh Symphony. There are strong contrasts of dynamics and expression, often within a very small
area, and the melody frequently contains leaps of large intervals, while rhythm has a strong and
forceful effect on the development.

With the Slavonic Dances op.72 (B147), however, Dvořák returned to his earlier use of traditional folk
colour in a second Slavonic period (1886–92), which from op.85 (1889, B161) onwards contains a
fundamentally new element of poetic music, the picturesque, a musical language of association. The
previous rigour of the thematic treatment gives way to a more rhapsodic structure; elements of the
funeral march, fanfares, pastoral themes, birdcalls in ‘Nature’ passages, or themes of special
significance such as the so-called death motif (ex.4) are all prominent in the works of this period. They
include the Dumky Trio, the Eighth Symphony and the concert overtures In Nature’s Realm, Carnival
and Othello (the overtures were to form a cycle entitled Nature, Life and Love). Against the
background of this increasingly poetic style, which is still perceptible in the works composed in the
USA and which led (in the finale of the String Quartet no.13, written in 1895 after Dvořák had returned
to Bohemia) to music entirely of expressive language, it seems logical and almost inevitable that
Dvořák should have begun writing programme music in 1896. In taking that step he made use of the
general picturesque nature of his previous poetic composition to represent concrete subjects and
characters.

Dvořák’s music is notable for a wide variety of genres; few of his contemporaries wrote in so many.
Almost all the genres of his time are represented: opera, oratorio, cantata and mass; symphony,
symphonic poem, concert overture, serenade, suite, dance and march; concert piece and solo concerto;
chamber music ranging from the solo sonata to the sextet; piano music; and secular choral works and
songs. This variety was largely the result of commissions, including works for specific occasions, and it
contributed a good deal to his image as a composer who spontaneously wrote prolifically and fast and
who, as Simrock described him, could ‘pull melodies out of his sleeve’. But although Dvořák always
retained something of the attitude of the Bohemian Kantor ready to write occasional music, as
inculcated into him by Liehmann, what mattered to him was not just ‘artistic integrity’ and the general
fulfilment of the ‘main conditions to be required of a work of art’, but first and foremost enthusiasm for
the task he had set himself or to which some external stimulus had moved him. This enthusiasm or, as
Dvořák once called it, ‘stimulation of the imagination’ could be kindled by various factors: by the
poetry of a text (as in the cantata The American Flag); by an intriguing problem of composition (for
example, the simple music in folk idiom that had to be written for the String Quartet no.10, or the ‘very
small means’ of the Drobností ‘Miniatures’, for two violins and viola); by peculiarities in the forces
available (as in the Bagatelles for two violins, cello and harmonium, or in the Mass in D, accompanied
solely by organ in its original version); or by certain musical ideas (as in the combination of rhapsodic
freedom and sonata form in the Slavonic Rhapsody op.45 no.1, or the ironic alienation effect of the
national colouring required in Mazurek for violin and piano/orchestra, B89 and 90). Broadly speaking,

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Dvořák was a craftsman in his musical thinking; his aim was to go ‘a step further’ with every work, and
to write works that would ‘move the world’. Like his friend Brahms, Dvořák’s artistic attitude was
pledged to the aesthetic premise that gives the treatment of an idea precedence over the idea itself:

To have a fine idea is nothing special. The idea comes of itself, and if it is fine and great, then
that is not because of the person who has it. But to develop the idea well and make
something great of it, that is the hardest part – that is art!

A glance at the sketches and autograph manuscripts shows that there were four stages to Dvořák’s
method of composition. First there are sketches above which he wrote ‘motivy’, motifs merely
recording the melody of a ‘fine idea’, as yet unconnected with any definite project (see fig.3). Second
are sketches of rough musical outlines of the whole or part of planned work. Third is a continuity
sketch in which the melodic and thematic plan for the work is written out section by section with many
indications of harmony, dynamics and instrumentation, and which shows the rejection of a way
previously taken, the search for new solutions and the disentangling of problems (or ‘knots’, as Dvořák
called them). Finally there is a fair copy of the score, with the definitive refinement of details that were
outlined in the continuity sketch. This fourth version shows the counterparts, subsidiary parts and
accompanying figures; musical second thoughts about the sketch, improvements on it and
clarifications; and the conversion of the sketched material to orchestral sound, in which Dvořák aimed
to have ‘no instrument demoted to a part that is merely filling in’, but to ensure that every instrument
‘speaks an eloquent language of its own’ (H. Krigar, D1880). The music itself, however, betrays nothing
of this process of development: Dvořák, like Schubert, had the ability to give the density, complexity
and richness of his music – often achieved by much hard work – the appearance of being
uncomplicated and spontaneous, and expressing the simple pleasure of making music.

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‘Motivy New York’: autograph sketches from Dvořák’s ‘American Sketchbook 1’

9. Operas.

As Dvořák emphasized in the first interview he gave in London in 1885, from the beginning of his
creative career he regarded opera as central to his work. Born at a period when the idea of a Czech
national opera was being formulated, he was familiar with the discussions set off by the competition
initiated in 1861 by Count Jan Harrach for the best Czech historical and comic operas. Debate centred
chiefly on the fundamental nature of Czech nationalism and how it could be incorporated into music
drama. As a viola player at the Provisional Theatre (where he acquired a comprehensive knowledge of
the international opera of the time) Dvořák saw the works of his colleagues Bendl, Šebor, Blodek,
Rozkošný and Skuherský, and the premières of Smetanas’s The Brandenburgers in Bohemia, The
Bartered Bride and Dalibor. He adopted the three subjects found in these Czech operas for his own
works: they were rural Czech village life with its typical characters in Turdé palice (‘The Stubborn
Lovers’), The Jacobin and The Cunning Peasant; Czech stories and fairytales in King and Charcoal
Burner, The Devil and Kate and Rusalka; and subjects from Slavonic history in Vanda (on a Polish
subject) and Dimitrij (on an episode in Russian history). An exception was Alfred, Dvořák’s first opera,
to German libretto, although its subject (the liberation of the Anglo-Saxons from Danish rule) is in the
tradition of Šebor’s Templáři na Moravě (‘The Templars in Moravia’) and Smetana’s The
Brandenburgers in Bohemia. Another exception was Armida, Dvořák’s last opera, with an international
subject that had often been set before.

Dvořák drew on existing traditions, often aiming to adapt them in a unique and individual way. His first
two operas, Alfred (1870) and the first version of King and Charcoal Burner (1871), resemble Wagner’s
Tannhäuser, Lohengrin and Die Meistersinger in harmony, declamation and the symphonic style of
orchestration; in general concept, employing large formal scenes in which the influence of the number
opera still lingers; and in a network of motifs signifying personal characteristics and reminiscences.
His abandonment of Wagnerian style as he turned to comic opera in the second version of King and
Charcoal Burner (1874, revised 1880–81 and 1887), The Stubborn Lovers (1874) and the The Cunning
Peasant (1877) led to changes in his concept of opera; these works were in the tradition of composers
such as Lortzing and above all Smetana’s The Bartered Bride. However, these changes did not entail
simplification of his musical methods. Dvořák was still employing extended structures and through-
composition to achieve seamless transition from one scene to another, with orchestral references
involving reminiscent themes and motifs and the development of theatrical contrasts and effects, as in
the cumulative finale of The Cunning Peasant, into which all eight soloists are gradually drawn one by
one.

Dvořák turned to historical subjects in 1875 with the five-act Vanda, which clearly shows the influence
of grand opera in its tableaux and ensembles and in the use of the chorus. His greatest achievement in
this genre is Dimitrij (1881–2, revised 1894). This opera and the lyric fairytale Rusalka are Dvořák’s
most important stage works. In Dimitrij he succeeded in combining the tradition of Meyerbeer with
elements of Wagnerian music drama. Besides employing local colour (mazurka rhythms for the Poles,
suggestions of modal Russian folk music for the Russians), large ensemble scenes with eight-part
double choruses and solo scenes included in tableaux rich in contrasts, the orchestral language uses a
leitmotif effect to comment on the action, thereby taking part in the drama itself. Another notable

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feature of Dimitrij is the principle of the contemplative ensemble: dramatic incident shifts to the minds
of the characters and groups involved and balances the turbulent events on stage, so that the music
describes feelings and emotional situations, illustrating the motivation of the characters beyond the
words they sing (for example, in a ‘resonant silence’ in the finale of the last act Marfa, who is expected
to swear that Dimitrij is her son and thus the legitimate tsar, says nothing).

The Jacobin (1887–8, revised 1897) is considerably less tightly constructed and more varied in its
internal structure, which again is reminiscent of the number opera. Its libretto, like that of Dimitrij,
was by Marie Červinková-Riegrová, and the character of the village Kantor Benda suggests nostalgic
memories of Dvořák’s former teacher Liehmann. Elements of comedy and merriment on the one hand
and tragedy and melancholy on the other are brought out by motifs that are readily associated with, for
example, a lullaby, a mocking song, or a eulogy, and are interlinked in variations, so that different
points of time in the action are symbolized in musical terms, giving an effect of epic drama.

Dvořák’s last three operas are like a survey or concentrated résumé of his earlier career as an operatic
composer. In The Devil and Kate (1898–9) he reverted to Wagnerian principles. Its large formal
structure is permeated by thematic-motivic reminiscences and is dominated by a symphonic orchestral
language that draws musical contrasts between earth and hell and, in the preludes to the second and
the third acts, comments on the action. The libretto provided no occasion for lyrical duets and there
are none of the large ensembles as in the earlier operas. Dances (at an inn and in hell) give structure
to the dramatic action; their themes derive from musical accounts of a place (a theme for hell) or
motifs that suit the characters (Kate’s bagpipe melody).

A similar kind of structure is perceptible in Rusalka (1900), but here it is much more dense and
concentrated. There is a strong contrast between the world of the Nature spirits, whose music includes
augmented triads, unusual progressions and highly coloured instrumentation, and the world of men,
whose harmonies and orchestration are traditional. A dense network of leitmotifs (referring to Nature,
a lament, a curse, fate) is typical of the symphonic orchestral language, and by combining these motifs
Dvořák related all elements of the action to each other in terms of music drama. Rusalka’s personal
motif, with its many variants of expression, is put to the service of contemplative meditation, the
musical depiction of a state of mind that has less to do with the dramatic action than with musical
analysis of a psychological situation.

In his last opera, Armida (1902–3), Dvořák changed to a different genre; his point of departure was late
grand opera in the style of Massenet. The elaborate and often fantastic course of the action is marked
by a series of tableaux; the motifs are less densely interwoven, so that in many passages the orchestra
indicates a general atmosphere rather than individual characterization; and older formal traditions are
sometimes introduced, including a return to the contrast between recitative and aria. All this is done
not in a reactionary manner but as a successful extension of the possibilities for post-Wagnerian
operatic composition around 1900.

10. Choral works.

Large-scale choral works were of importance at various times in Dvořák’s career. He made his name as
a Czech composer in 1873 with the first performance of a work for chorus and orchestra, Hymn: The
Heirs of the White Mountain; the successful performance of his Stabat mater in England in 1883 led to
further opportunities there; and he successfully introduced himself to the American musical public

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with the Te Deum, composed in 1892. Dvořák turned to choral composition comparatively early,
probably because of the significance such works had for the sense of nationality developing in Czech
musical life at the beginning of the 1860s. The Prague Hlahol male-voice choral society was founded in
1861 and many Czech composers including Smetana and Bendl wrote for it, composing pieces in which
a nationalist element was often prominent.

Dvořák followed this trend with Hymn: The Heirs of the White Mountain (1872), which has a text based
on the closing verses of the epic poem written in 1869 by Vítězslav Hálek. Hálek’s hymn sings first of
the sad loss of the motherland after the Battle of the White Mountain in 1620, which had such
momentous consequences for Bohemia (‘As springs anoint the ground beneath the alder / So, Mother,
thou must bend ever a-weeping’); he then calls on her children to keep faith (‘Let’s make our hearts
our mother’s living shelter’) and hold fast to their love for the troubled land (‘We’d love her still, / As
nation never loved its country before’). The mood of the text becomes more positive as it continues,
and Dvořák traced this movement in his setting.

Apart from two masses (B2 and B806, both lost), written while he was studying at the Prague Organ
School, church music did not feature in Dvořák’s work for many years. It was not until February 1876
that he turned to sacred music. By the beginning of May he had sketched out the Stabat mater, which,
however, like all his large religious works (with the exception of the organ version of the Mass in D),
was meant for concert performance rather than as part of a church service, in line with the 19th-
century trend away from liturgical use. It is not known exactly why Dvořák turned to a sacred subject
at that time, but there may have been a connection with the death of his daughter Josefa in August
1875 (two days after her birth), particularly as he did no more work on it until October 1877, soon after
two other children had died; he then completed its orchestration within a few weeks. However, one
should not forget that Dvořák began the Stabat mater when he was occupied daily with sacred music
as organist of St Vojtěch, and this fact may have inspired him. He had learnt ecclesiastical Latin at the
Prague Organ School and was thus able to divide the text into ten self-contained sections. Similarities
of setting and theme between the first and last sections give the work a cyclic form. It is profoundly
meditative, with soft dynamics, slow tempos, melodies interspersed with sighing motifs, suspensions
and chromaticism; its transparent orchestration suggests chamber music and avoids theatrical effects.
The music does not so much interpret the words as provide realization of the subjects dominating the
text: mourning, lamentation and hope.

Dvořák was primarily concerned with the musical depiction of a basic emotion also in Psalm cxlix, ‘O
sing unto the Lord a new song’, set first for male-voice chorus and orchestra (1879, B91) and later
revised for mixed-voices and orchestra (1887, B154). When the Hlahol society asked him for a work for
its annual concert, he chose this psalm because the text, with several musical references and its call to
jubilant thanksgiving, made it especially suitable for choral setting.

The textual basis of the The Spectre’s Bride (1884), for the soloists, chorus and orchestra (written for
the Birmingham Festival, but first performed in Plzeň), was the ballad Svatebni košile, from Erben’s
collection Kytice (‘The Bouquet’). Its subject is closely connected with G.A. Bürger’s Lenore. Unlike
Bürger’s poem, however, Erben’s ballad ends not with death but with the deliverance of the girl
through her steadfast faith in God, an element that appealed to both Dvořák’s own piety and the
musical taste of the English public, which liked religious subjects. Dvořák divided the ballad into 18
sections. He gave the narrative parts to a bass soloist and to the chorus, which comments on or
dramatizes the remarks of the soloist. The parts spoken by the girl in the ballad are sung by the

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soprano, and the words of her bridegroom by the tenor. Monologues occur as arioso scenes and
dialogues as duets in which the parts are not only sung in succession but also go beyond Erben’s text
in providing simultaneous and often contrasting dialogue. An overall cyclical form is created by a
catchy theme of a falling 5th appearing first in the prelude and running through the various sections,
and a thematic reference to the beginning of the work in the final section. The girl’s two solo arias also
frame the drama: her prayer (no.2) begins the uncanny nocturnal events and her renewed appeal to
God (no.17) puts an end to them and brings the action back to the real world. The musical forces
employed, the prominence of the chorus, the dominant ballad tone and the prevalence of an epic
dramatic principle suggest that this work (sometimes described as a cantata or a dramatic cantata and
sometimes as an oratorio) may be classified as a 19th-century ‘choral ballad’ comprising elements of
both opera and oratorio in the tradition of Schumann, Gade and Bruch.

Dvořák adopted the tradition of legend-based oratorio in St Ludmilla (1885–6, text by Jaroslav
Vrchlický), written for the Leeds Festival; he arranged it as a ‘sacred opera in three parts’ in 1901. The
subject is the conversion of Ludmilla, in legend the wife of Duke Bořivoj, and the coming of Christianity
to Bohemia. Dvořák’s treatment of the chorus is reminiscent in various ways of Handel’s techniques;
the principle of separate numbers predominates, but the numbers are linked by the use of thematic
reminiscences. In the third part, the use of the Czech chorale Hospodine, pomiluj ni (‘Lord, have mercy
on us’) is particularly expressive as a means of depicting the situation.

Dvořák wrote the Mass in D op.86 (1887, for soloists, chorus and organ) for the consecration of the
private chapel of the Prague artistic patron Josef Hlávka. The commission, as Dvořák said, established
the ‘modest means’ at his disposal, ruling out any large-scale musical exposition of the text. However,
it is not merely an occasional work. Responsorial techniques, a pastoral character, a wealth of
harmonic colour and unique tonal charm are characteristic of this mass ‘in praise of the Most High’.
Dvořák arranged it for orchestra at Novello’s request in 1892. The Requiem (1890), written for the
Birmingham Festival, is considerably denser and more concentrated in structure. A four-note
chromatic motif reminiscent of the fugue subject of the second Kyrie in Bach’s B minor Mass, recurring
in almost all sections of the Requiem (planned as a large work in two parts), is the structural point of
departure and of reference for the melodic invention. Dvořák had used this motif at the close of the
sixth song from op.83 (1888, B160), setting the words ‘Koly ach ulna života une odnese?’ (‘Oh when
will the wave of life carry me away?’), and in the Requiem it thus had personally significant as well as
structural status, as a musical statement of questions about growth, existence and decay.

Although the text of the Te Deum falls into three parts, Dvořák’s setting (1892), for soprano and bass
soloists, chorus and orchestra, is in four independent musical sections, linked by the recurrence of the
opening at the end of the fourth section. In character, tempo and time signature (Allegro moderato
maestoso, 4/4; Lento maestoso, 4/4; Vivace, 3/4; Lento–poco più mosso, 4/4 – Allegro moderato, 4/4)
the sections suggest the traditional four-movement construction of a symphony, and the simultaneity of
vocal and instrumental music as an idea connected with that structure. Besides the tone of rejoicing
required by the subject, there are many moments of lyrical meditation, for example in the prayer-like
Sanctus and in the ‘Dignare Domine’ whose main theme achieves telling musical gestures of sung
prayer in a sequence of expressive intervals and suspensions.

The cantata The American Flag (1892–3, B177), for alto, tenor and bass soloists, chorus and orchestra
(composed at the request of Jeannette Thurber), is based on a poem by Joseph Rodman Drake. Written
to commemorate the soldiers of the American war of 1812, Drake’s verses were a kind of patriotic

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hymn, set by Dvořák in a more general tone than was usual for him. Wagnerian harmonies and
thematic treatment reminiscent of Liszt are characteristic of the music, which comprises the opening
number (‘The Colours of the Flag’), a scherzo (‘First and Second Hymn to the Eagle’), an extended
march (‘First and Second Address to the Flag’) and a finale which is dramatic at first, developing into a
song of triumph (‘Third Address to the Flag’ and ‘Apotheosis’), thus suggesting symphonic movements
in the formal structure, as in the Te Deum (completed a few days before the cantata was begun).

11. Orchestral works.

(i) Symphonies. The whole range of 19th-century orchestral composition is reflected in Dvořák’s
orchestral works, which include symphonies, symphonic poems, symphonic variations, concert
overtures, a ‘Scherzo capriccioso’, rhapsodies, serenades and a suite, concertos and concertante
pieces, dances and a march. Except during later years Dvořák wrote orchestral works at every stage of
his creative career. However, the symphony is at the heart of his orchestral writing. Educated in a
tradition which regarded the string quartet as a composer’s journeyman piece and the symphony as his
masterpiece, Dvořák did not turn to symphonies until he had produced his first chamber music.
Symphony no.1 in C minor was written in 1865. Its title ‘Zlonické zvony’ (‘The Bells of Zlonice’), was
not intended as a programmatic description but was simply for identification when the work was
entered for a competition. The symphony refers back to those of Beethoven (the tonal structure of its
four movements corresponds to Beethoven’s Fifth): Dvořák (unlike Brahms) did not feel inhibited by
Beethoven’s example. As in the Second Symphony (also of 1865 but extant only in the revised version
of 1887), the First Symphony displays not only thematic shaping and development of the material but
also structural elements which are block-like in form, a series of individual sections set side by side,
suggesting that Dvořák was also following Schubert’s principles in mastering the large-scale form of
the monumental symphony. The Third Symphony, in E♭ (1873), occupies something of a special position
and was written at the end of Dvořák’s phase of enthusiasm for the New German style. It has only
three movements (the only such symphony that Dvořák wrote), lacking a scherzo. The first movement
is monothematic in tendency, while the final movement makes very free use of sonata form. The
fluctuating C♯ minor/D♭ major of the slow movement imparts a relaxed, colourful tonality to the work,
and the movement is integrated into the general structure by the inclusion of reminiscences of a motif
from the first movement.

Although the beginning of the slow movement of the Fourth Symphony (1874) sounds somewhat
Wagnerian, the work shows a departure from the New German style and opens up the way to Dvořák’s
own symphonic style. This makes its first typical appearance in the Fifth Symphony (B54, published as
no.3), composed in 1875 and revised in 1887. The style here is notable for thematic plasticity and
stringent form – proportional phrase-length between the main and subsidiary subjects, formal
retracing of the thematic complex in the development section and résumé-like contrapuntal coupling of
the main and subsidiary themes at the beginning of the coda – and for the range of expression. The
first movement is bucolic and pastoral, the second meditative (anticipating later dumka movements in
countering elegiac and serenade-like moods), the third is in a lively dance rhythm and the finale is
dramatic and expressive.

The Sixth Symphony, in D (1880), was the first of Dvořák’s symphonies to be published and the first to
make him internationally known as a symphonic composer. Specially composed for Vienna and the
Vienna PO it contains a series of allusions to the symphonies of Beethoven, which were highly regarded

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by the Viennese: for example in the main theme of the first movement; the opening of the slow
movement, which resembles the Adagio of Beethoven’s Ninth; and a melody of descending 5ths and
4ths in the third movement, four bars before the return of the scherzo, reminiscent again of the Ninth.
In particular there are allusions to Brahms, with clear parallels to his Symphony no.2: in the main key;
in the time signature, tempo and character of the outer movements; and in the thematic shaping,
which resembles Brahms’s technique of development and separation. These allusions, through which
Dvořák presented himself almost deliberately as a composer in the Viennese symphonic tradition, are
woven into an individual style displaying a wealth of melody, skilful combination of themes, formal
cogency, strength of expression and national colouring. From the Sixth Symphony onwards, this style,
which Dvořák had begun to develop in the Fourth Symphony, made him a significant contributor to the
‘second age’ of the symphony.

In the Seventh Symphony (1884–5, B141; published as no.2) the achievements of the Sixth are built on
through formal cogency and economy (the ideas of the exposition are used in the first-movement coda
but are omitted from the recapitulation), and through variety and a strict development of musical
ideas. However, the Seventh is essentially different from the Sixth: the thematic treatment is more
rigorous, development is greater, there are strong contrasts of detail and in the overall effect, and folk
colouring is used sparingly (for example in the ff repetition of the subsidiary subject in the finale and in
a change of tempo to one similar to that of a furiant in the otherwise restrained scherzo), all in a
musical language notable for a degree of expressivity and depth of emotional density not previously
found in Dvořák’s symphonic writing.

The influence of folk music is heard again clearly in the Eighth Symphony (1889, B163; published as
no.4), with which Dvořák allegedly (Šourek) hoped ‘to write something different from his other
symphonies and shape the musical content of his ideas in a new manner’. The variety and diversity of
those ideas is striking, and they are often expressed in a musical language peculiar to them (with
imitations of natural sounds, pastoral subjects, signals, fanfares, the suggestion of a funeral march and
the idiom of a chorale). Sonata form is loosely applied and gives way to a more rhapsodic unfolding of
ideas, but musical coherence is maintained through related melodic motifs and above all by rhythmic
structures. In both the enhancement of musical language and the relaxation of formal structure, the
Eighth Symphony reflects for the first time in a large instrumental work the new poetic element in
Dvořák’s music after the spring of 1889.

Dvořák pointed out several times in letters and interviews that the influence of American music could
clearly be heard in his Symphony no.9 in E minor (‘From the New World’, first published as no.5),
written in New York in 1893. He emphasized that he had tried to compose it in the spirit of the folklore
of the black and Amerindian peoples and it includes features of that music (pentatonism, a flattened
leading note, plagal cadences, drone accompaniment, certain tonal circles, rhythmic ostinato and
strongly syncopated rhythms). In view of the expectations that American musical society had of him it
is significant that this work, the first Dvořák wrote on American soil, was a symphony, the genre
representing the greatest and noblest kind of orchestral composition. This significance, which included
the elevation of American folk material frequently regarded as trivial, was demonstrated through the
skill of Dvořák’s symphonic language as well as in many individual features, such as the reference to
the scherzo of Beethoven’s Ninth Symphony at the beginning of the third movement and the emphasis
on symphonic treatment of thematic reminiscence: the second and third movements quote a prominent

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part of the main theme of the first movement, and the coda of the finale refers successively to the main
theme of the first movement, sequences of sounds in the introduction of the second movement and to
its main theme in contrapuntal combination with the theme of the scherzo.

(ii) Overtures and symphonic poems. Dvořák seems to have been reluctant to embark on programme
music early in his career. Even when he turned to the New German style of composition, he remained
chiefly devoted to musical genres of absolute music; he described his op.14 of 1874 (B44), written in a
kind of free form, as both a rhapsody and a symphonic poem. His first real attempt was the Husitská
overture, commissioned by the Prague National Theatre and composed in 1883. Its programme is
based broadly on František Šubert’s planned dramatic trilogy on the Hussite period, its three parts
covering the rise of the Hussite movement, the Hussite wars and the return of peace. Externally, it
retains the structure of a somewhat extended concert overture in sonata form, with the slow
introduction symbolizing the pre-Hussite situation, the allegro exposition the rise of the conflict, the
development the war itself, and the recapitulation, now in the major, the return of peace. As illustration
of the subject Dvořák used two chorale melodies, Svatý Václave (‘St Wenceslas’) and the Hussite hymn
Ktož jsú boží bojovníce (‘Those who are God’s warriors’), employed both in simple quotation and as
combined or contrasted themes dramatizing the course of events.

The three overtures In Nature’s Realm op.91 (1891, B168), Carnival op.92 (1891, B169) and Othello op.
93 (1891–2, B174) are clearly programmatic in character. Composed as a trilogy, with the title Nature,
Life and Love, they are musically connected by the main theme of op.91 and constitute a general
reflection on existence. With characteristic understatement, Dvořák wrote to Simrock: ‘But there is
something of programme music about them after all.’ Dvořák’s depiction of Nature (op.91) is both
general and individual: general in its choice of the traditional ‘Nature’ key of F major and reference to
the depiction of Nature as found in Wagner (prelude to Das Rheingold and the forest murmurs of
Siegfried) and Mahler (First Symphony), a quiet, restful sound broken only by pre-thematic natural
noises; and individual in that the first theme in the main section is followed by a second subject also in
F major (balanced by an analogous pair of themes in the subsidiary section) that has a close thematic
connection with the Czech hymn Vesele zpívejme, Boha Otce chvalme (‘Let us sing joyfully, praise God
the Father’; ex.5). Thus Nature is depicted as an aspect of the nature of God, very much in line with
Dvořák’s own religious thinking, according to documentary evidence. There is a similar approach in
Carnival – a subject dedicated to life with all its hustle and bustle – where the contrasting ‘death’ motif
from the Requiem (though here in the major key) is heard in an intermediate section. The musical
picture of love in Othello is tragic love, derived from the world of Shakespeare’s play. At certain places
in the score, Dvořák made references to situations in the play (for example, ‘They embrace blissfully’,
‘Jealousy and a thirst for revenge mature in Othello’, ‘Othello murders her in frenzied rage’).

Dvořák’s first four symphonic poems, composed in 1896 (The Water Goblin op.107, The Noon Witch op.
108, The Golden Spinning-Wheel op.109 and The Wild Dove op.110) are based on four ballads (with the
same titles) from Erben’s collection Kytice, which contains verses on eerie and bloodthirsty subjects.
Such material was not appropriate to the Lisztian concept of the symphonic poem as an idealized work
of art, which Dvořák attempted only in his last symphonic poem, A Hero’s Song op.111 (1897). He
handled Erben’s subjects by delineating the broad outline of the action and above all, he wrote, by
‘casting light on the various protagonists, their characters and the poetic atmosphere’, and thus
transferring the basis of his programme into terms of musical pictures and descriptive situations (for
example the idyllic opening of The Noon Witch and the funeral procession at the beginning of The Wild

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Dove). The form is based on motifs depicting the characters and situations, with psychological
development in the transformation of those motifs. There are rondo elements in The Water Goblin;
features of the symphony and sonata form are combined in The Noon Witch, conforming to the Lisztian
‘double-function form’; broad, arching structures predominate in The Golden Spinning-Wheel; and the
structure of The Wild Dove resembles sonata form on a large scale, with an epilogue. In the melodic
invention of the motifs, particularly in The Water Goblin and The Golden Spinning-Wheel, Dvořák kept
close to the declamatory tone of spoken language in Erben’s verses (questions, harsh objections,
expressions of rejoicing, etc.), employing a method of composition that in Janáček’s works became the
important structural element of ‘speech-melody’.

(iii) Concertos. Although Dvořák was a trained instrumentalist who performed in public and he turned
relatively early to the concerto, composing one for cello with piano accompaniment (B10) for his
orchestral colleague Ludevít Peer as early as 1865, the genre remained on the periphery of his
composition as a whole. 11 years passed before he wrote his second concerto, in 1876, probably at the
suggestion of Karel Slavkovský, a pianist in Prague; this was the Piano Concerto in G minor. It is a
symphonic work in the tradition of Beethoven that makes very high technical demands on the pianist,
but the solo part merges with the work as a whole so that there is little opportunity for virtuoso display.
Despite expressive strength in the first movement, lyrical tenderness in the second and elements of
burlesque in the third, even contemporary pianists regarded it as ‘ungrateful’.

The original version of the Violin Concerto in A minor, written for and dedicated to Joseph Joachim in
1879 at the suggestion of Simrock, was destroyed by Dvořák after he revised it in 1880, acting on
advice from Joachim himself (‘I have retained the themes, and composed some new ones too, but the
whole concept of the work is different’). The solo part is mainly in a cantabile style but is virtuoso in its
rich tonality; it is closely connected with the work as a whole, for example in the allocation of the
thematic antecedent phrase to the orchestra and the consequent phrase to the soloist. There is no
orchestral introduction and the first movement leads directly into the second; the finale draws on both
dance and song, the outer sections having the character of a furiant, while the central section is in the
nature of a dumka.

Dvořák’s last concerto, the Cello Concerto in B minor (1894–5), was written in the USA, but contains
none of the Americanisms found in the works composed just before it. It was intended for the Czech
virtuoso cellist Hanuš Wihan, whom Dvořák consulted about the solo part several times when he
revised it on his return to Prague (see fig.4). The concerto follows the traditional three-movement form
with an extensive orchestral exposition in the first movement; it unites virtuoso playing with symphonic
detail (for example in reminiscences of themes from the first and second movement in the coda of the
finale) and concertante-style richness of contrasts. In the second movement, the quotation of the
melody from the song Lasst mich allein op.82 no.1 (B.157) is a reminiscence of Dvořák’s sister-in-law,
who was dangerously ill; after her death in May 1895 he also included this quotation in the finale,
which is striking in its orchestration (employing solo violin) and recalls the non-related tonal areas in
Wagner and Mahler. The quotation makes the concerto one of Dvořák’s most personal works.

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Autograph letter (14 February 1896) from Dvořák to the secretary of the Philharmonic Society, London,
objecting to the engagement of Leo Stern to play the world première of his Cello Concerto

(iv) Other works. With the String Serenade in E (1875, B52) and the Wind Serenade in D minor (1878,
B77) Dvořák took up an orchestral genre that was less demanding than the symphony, aiming only to
provide pleasure and entertainment, but that required skill of the composer. Dvořák ingeniously
combined all kinds of expressive characteristics into a whole: the String Serenade unites cantabile
style (first movement, Moderato) with a melancholy waltz (second movement, Tempo di valse),
humorous high spirits (third movement, Scherzo vivace), lyrical beauty (fourth movement, Larghetto)

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and exuberance (fifth movement, Allegro vivace). The Wind Serenade unites a military march (first
movement, Moderato, quasi marcia), a pleasing dance (second movement, Minuetto), a pastoral idyll
(third movement, Andante con moto) and cheerful wit (fourth movement, Allegro molto).

The Symphonic Variations (1877, B70), consist of 27 variations and a finale, based on the three-part
melody of Huslař (‘The Fiddler’), the third of the choral songs for male voices (B66). The melody is
asymmetrical and harmonically ambiguous, with a sharpened fourth degree. In variations 19–26 the
structure of the theme becomes unrecognizable and musically and expressively it is entirely new.
Variation and the creation of thematically distant variants is also an important feature of the three
Slavonic Rhapsodies op.45 (1878, B86). This approach allowed Dvořák the external variety demanded
of the rhapsody by the aesthetics of his time; however, this variety is always under musical control and
logically conveyed in the form: for example the first rhapsody follows sonata form in its main sections.

The Czech Suite (1879, B93) is like a kaleidoscope of folk music: there are suggestions of Czech
bagpipe melodies in the first movement; the Lydian 4th, typical of many Czech folksongs, threads its
way through the fourth movement (Romance); and the other movements relate to Czech dances (the
second is a polka, the third a sousedská, the final movement a fiery furiant). The overture My
Homeland (1881, B125a), also based on folk music, was originally the prelude to the incidental music
for the play Josef Kajetán Tyl. Two songs permeate the melodic and thematic invention here: the
melody of F.J. Škroup’s song Kde domov můj? (‘Where is my homeland’?), later incorporated into the
Czech national anthem, and the folksong Na tom našem dvoře (‘There on our farm’), which Dvořák
used as a dance-like counterweight to the more solemn tone of Kde domov můj.

The Scherzo capriccioso (1883, B131) was written in the same period as the Piano Trio in F minor
(B130) and the Husitská overture. As in those two works, the carefree folk style of Dvořák’s Slavonic
period yields to a dark, reflective tone, as if caricaturing the title of the work; the exposition includes
what appear to be development sections, counterpoint (imitation, fugato) creates dense structure and
the orchestral sound is often interrupted by striking use of the english horn and bass clarinet.

12. Chamber music.

A viola player himself, Dvořák seems to have felt a natural affinity with chamber music and it is not
surprising that his first official opus – as it were the initial work in his career as a composer – was a
string quintet with two violas (B7). Chamber music remained central to his work and was significant at
crucial points in his artistic development. The String Quartet no.1 in A (1862, B8), dedicated to his
teacher at the Prague Organ School, Josef Krejčí, may be regarded as his journeyman work; like a
primal cell, the main theme of the first movement gives rise to the themes of the three following
movements, the scherzo metre is skilfully varied and the movements are closely linked. The string
quartets in B♭, D and E minor of 1868–70 (nos.2–4) – later destroyed as works of the composer’s ‘mad
period’, but preserved in copies – provide a record of Dvořák’s progress. His highly developed musical
language is used in the third movement of the D major quartet to shape the melody of the banned Slav
freedom song Hej Slovane (‘Hey, Slavs!’) in the manner of a variation (ex.6). The single-movement
quartet in E minor includes a slow central section of 63 bars based on an F♯ pedal point. Dvořák later
published this central section as an independent work, the Nocturne op.40, arranged first for orchestra
(B47), then for violin and piano (B48a) and for piano four hands (B48b)

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The Piano Quintet in A (B28), composed in 1872, is a transitional work, like the String Quartet no.5 in F
minor and no.6 in A minor; in each case the search for individual ideas revived traditional formal
demands. A marked alteration between experiment and tradition (no.6 was originally planned as a
single movement consisting of five large sections) lends the works a distinct and often unique charm.
In each case, also, there is cautious use of national colouring, sometimes brought to the fore and then
receding.

The end of the transitional phase is marked by the String Quartet no.7 in A minor (1874), which has
balanced formal proportions and logical stringency (the first movement’s development leads from A
minor to E♭ major and back symmetrically to A minor for recapitulation), with a tendency towards
developing variation, guaranteeing unity in diversity, and clear references to folk music (the third
movement is based on elements of the mazurka and the sousedská). A similar economy and thematic
density characterizes the String Quintet op.77 for two violins, viola, cello and double bass, written
shortly afterwards (1875, B49), but here the extension of variation to all sections and movements gives
it symphonic features.

The Piano Trios in B♭ (1875, B51) and G minor (1876, B56), and the Piano Quartet in D (1875, B53)
show a return to traditional chamber music. In these works Dvořák refined his achievements, with
contrasting developments and links beneath the surface of the music, and created melodic and tonal
balance and opposition between the piano and the strings. The String Quartet no.8 in E, composed in
1876 and revised in 1888, shows exceptional individuality and skill in the mirror symmetry of the first
movement, the unconventional but distinctive disposition of keys in both detail and overall effect, the
dumka style of the Andante and in the asymmetrical periodic structure of the scherzo. This is the
musical point of departure evident in many of Dvořák’s later chamber works.

The String Quartet no.9 in D minor (1877), composed soon afterwards and dedicated to Brahms,
suggests an enhancement of what has gone before, with fluctuating tonality, only indirectly
circumventing the main key (which is avoided), rigorous allocation of themes to all parts and a lively
polka in the second movement. The Bagatelles (1878, B79) are original in their instrumentation
(harmonium, two violins and cello), in their five-part structure – suite-like and cyclical as if subliminally
connected by the use of quotation – and in their echoes of Czech bagpipe melodies.

The String Sextet in A (1878, B80) and the String Quartet no.10 in E♭ (1878–9) represent the
predominance of a nationalist style probably to a greater extent than in any previous work. In the
quartet in particular – it was commissioned by Jean Becker, who asked for Slavonic features – Dvořák
concentrated on folklike themes, with obvious consequences not only for the colouring (elements of the
polka in the first movement, the dumka in the second and the skočná in the fourth), but for the whole
structure, including striking triadic melodies, catchy thematic periodicity and the dominance of formal
repetition. The Violin Sonata in F (1880, B106), written shortly after the E♭ quartet and the only sonata
in Dvořák’s output to survive (the Violin Sonata in A minor B33 and the Cello Sonata in F minor B20 of
the early 1870s are lost), is in the same folk-inspired vein, but already shows some of the subtlety and
stylistic refinement of the String Quartet no.11 in C (1881), which departs from the folk style with
themes based on chords, thematic density and polyrhythmic accompanying structures. This refinement
reaches a peak in the dramatic expressiveness of the Piano Trio in F minor (1883, B130), (ex.7) unique
in Dvořák’s writing. Not only the outer movements but also the scherzo-like second movement and the
imitative central section of the cantabile third movement are dominated by this expressiveness. In only
six bars at the beginning of the first movement, for example, the music moves from the opening pp to a

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first climactic ff, rhythmically and melodically intensifies the closing motif of the strings playing in
unison, quickens the tempo with triplets for the piano and, as if impulsively, opens up the tonal area to
cover several octaves.

Dvořák wrote no more chamber music for four years, apart from the Ballad in D minor for violin and
piano (1884, B139), a small-scale work but very much in Dvořák’s dramatic style of that time. This gap
can probably be explained by the time spent on commissions from England and for Simrock. At the
beginning of 1887 he returned to chamber music with the Terzetto in C (B148) for two violins and viola,
an occasional work of ‘very small means’, its third movement being a furiant and its finale a variation.
This was followed by the Drobnosti (‘Miniatures’, 1887, B149), for the same forces and with the same
‘small means’, comprising a Cavatina (no.1), a Capriccio (no.2), a Romance (no.3) and Ballade (no.4);
Dvořák arranged them immediately afterwards for violin and piano, and Simrock published them
without individual titles as Romatické kusy (‘Romantic Pieces’ B150). In the same year Dvořák
arranged 12 songs from his 1865 song cycle Cypresses for string quartet as Echo of Songs (B152), as if
transferring the tradition of the character-piece to the string quartet.

In the Piano Quintet in A op.81 (B155), also composed in 1887, he returned stylistically to the chamber
works of the late 1870s: a carefree tone, distinctly national colouring, melodic variety, rhythmic vitality
and harmonic colour combine in a well-balanced formal structure with differentiated instrumental
sound. The same can be said of the Piano Quartet in E♭ (1889, B162), whose musical organization
depends on 3rds in the main theme of the first movement. Dvořák adopted a new plan for the Piano
Trio op.90 (the Dumky, 1890–91, B166). Here the structure consists of neither the classical four
movements nor traditional sonata form, but a series of six dumky movements in two groups. The first
part consists of movements 1–3, which merge into one another without a break and are grouped
harmonically around the tonal centre C#, the key of the second movement; the second part consists of
movements 4–6. Relationships of character and sporadic correspondences of motif ensure cyclical
coherence between the two parts.

The String Quartet no.12 in F op.96 (‘The American’), the String Quintet in E♭ op.97 (B180) and the
Sonatina in G op.100 for violin and piano (B183) were all written in the USA in 1893. Besides the
clearly perceptible American tone it is their simplicity that distinguishes these three works from the
earlier and later chamber music. Dvořák stated that he ‘wanted to write something really melodious
and simple’. This simplicity seems therefore to have been deliberate. It is reflected in the relative
brevity of the works, the restraint of technical demands on performers, the diatonic rather than
chromatic melodic structure, and the emphasis on phrases of equal length. There is also less shaping
of thematic material, leading to repetition (either precise or in variation), and less attention to
development. Coherence is provided not so much by development as by simultaneous contrasting
passages of rhythmic ostinato and harmonic repose (as at the beginning of the Quartet op.96,
structurally reminiscent of Smetana’s string quartet ‘From my Life’), and the subliminal interlocking of
themes. These works differ in many respects from the 19th-century European tradition, but represent
an original and unusual aspect of Dvořák’s chamber music.

The String Quartet no.14 in A♭ op.105 – begun in New York early in 1895 and completed at the end of
the year – resembles an enhanced résumé of Dvořák’s previous chamber music. As in the First String
Quartet there is a slow introduction, a kind of preparation for the following Allegro, which has a
subject developed from ideas already presented. The theme is based on a motif (alternating upper and
lower notes, tonal repetition) that threads its way through the entire work, in which (as in many of the

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earlier works) it is obvious that Dvořák paid particular attention to the proportions of the individual
sections and movements and to cyclical cohesion. Less a résumé than a fundamentally new departure
is the String Quartet no.13 in G op.106, begun after op.105 but finished earlier. The thematic material
is not cantabile and extended, but consists of short, fragmented motifs. For example, the main theme of
the first movement includes leaping 6ths, tonal repetition, a motif of alternating notes and triad-like
descending triplets, combining the most disparate qualities – separated by rests – in the space of only
four bars (ex.8). In the following section these and other elements are treated like building-blocks that
can be combined at will. In the second movement (which almost eludes traditional analysis) this
principle affects the form, which is marked less by cadences than by breaks in forward movement and
by moments of repose created by general pauses and fermata. The finale has no development section
and many passages show little formal development. Thematic elements from the first movement are
quoted in a manner that seems to anticipate Janáček’s ‘speech-melody’ in its asymmetrical prose-like
nature and rhetorical language.

13. Piano music.

Although Dvořák was an accomplished pianist, writing for the piano was never as important to him as,
for example, orchestral or chamber music. His piano works are mainly entertaining dances and
character-pieces rather than musically and technically ambitious sonatas, fantasias and études. The
pieces include the two Furianty B85 (1878) and single works such as dumky (B136) (1884) and B64
(c1876), and the Impromptu in D minor B129 (1883), as well as larger sets, including the eight Waltzes
B101 (1879–1880) and the six Mazurkas B111 (1880), which are reminiscent of Chopin but are
considerably more natural-sounding and direct. The two Minuets B58 (1876) have expressive, cantabile
melodies. The four Eclogues B103 (1880) are full of tonal colour; Dvořák took the subject of the central
section of no.4 (Allegretto) as a contrasting theme for the first of the orchestral set of Slavonic Dances
B147. The eight Humoresques B187 (1894) show American influence in their striking pentatonism.

Another important group among Dvořák’s compositions for piano are those with cyclic features. The
eight variations of the Theme with Variations in A♭ B65 (1876) show an ever-increasing development,
which is technically demanding but rather impersonal in expression. 12 pieces linked by motifs make
up the Silhouettes, written between 1875 and 1879 (B98). They are based on thematic material from
the First and Second Symphonies (1865) and on motifs from no.14 of the song cycle Cypresses (also of
1865); as the title suggests, it is as if Dvořák were trying to trace the outlines of works from the earlier
period and reformulate them. He proved himself a musical poet in the nature of Schumann in the set
Poetic Tone Pictures B161 (1889), which has 13 sections, each bearing a title (for example,
Nočnícestou, ‘Twilight Way’; Žertem, ‘Toying’; Jarní, ‘Spring Song’. Their pictorial nature is expressed
through musical idioms and typical mood-setting. There are five movements in the Suite in A B184
(1894), revolving around the tonal centre of A and linked by motifs, but differing in tempo and
character. The melodies show the influence of American spirituals and there are many pastoral
features.

The third group consists of the piano duets. The two series of Slavonic Dances (B78 and B145, also
arranged for orchestra) contain elements of the furiant, dumka, polka, sousedská, skočna, odzemek,
kolo, starodávný, špacirka and mazurka in their melodic and rhythmic inventions. The epic nature of
the ten Legends B117 (1880–81, also orchestrated) is expressed in the sudden switching from a
cheerful to a dark and gloomy tone. The six character-pieces Ze Šumavy (‘From the Bohemian Forest’,

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B133) anticipate to some extent the later Poetic Tone Pictures in their programmatic delineation and
tone-painting, although they are less specific; their titles include Na přástkách (‘In the Spinning-
Room’), Klid (‘Silent Woods’, also arranged for cello and piano), and Z bouřlivých dob (‘In Troublous
Times’), the main theme of which resembles the theme of the scherzo in the Fourth Symphony.

14. Songs and duets.

Dvořák wrote more than 100 solo songs and duets. The texts were either from Czech, Moravian,
Slovak, Serbian, modern Greek, Russian, Lithuanian and Irish folk poetry or by Czech poets such as
K.J. Erben, Vítěslav Hálek, Adolf Heyduk, Eliška Krásnohorská and Gustav Pfleger-Moravský. The last-
named was also the author of the 18 poems that were the first texts Dvořák set to music, in the song
cycle Cypresses (1865, B11). These settings distinguish the individual moods of the poems and their
romanticism places them in the tradition of Schubert and Schumann. They already display many of the
elements generally characteristic of Dvořák’s word-setting: melodic and rhythmic ideas are closely
connected with the metrical qualities of the text. The structure of lines and verses is retained in the
shape of the musical phrases and the form, and dramatic passages are strongly emphasized. However,
Dvořák was primarily concerned to illustrate the mood and content of the texts, for example, the music
hovers like the dream of which it sings in Ó byl to krásný zlatý sen (‘Oh, it was a lovely, golden dream’;
ex.9). Moreover, the composer can be seen reacting to concepts and key words in the text in no.13, Na
horách ticho (‘Everything’s still’), where the piano part imitates the rustling of the woods, and in other
places. The 1865 cycle was not published, but Dvořák revised the songs several times: as the six songs
B123 (1881–2), the four songs B124 (1881–2) and as the eight well-known Love Songs (1888, B160). In
the five songs to words by Eliška Krasnohorska (B23), the four songs on Serbian folk poems (B29) and
the six songs from the Dvůr Králové Manuscript (B30) – written in the early 1870s as a result of
Dvořák’s acquaintance with Ludevít Procházka and the musical evenings he promoted – Dvořák tried to
do justice to the sobriety of the texts through an unforced vocal line, concealed strophic structures and
a simple but characteristic accompaniment.

The Moravian Duets, op.20 (B50, for soprano and tenor, and alto and tenor), op.29 (B60, for soprano
and alto) and op.32 (B62, for soprano and alto) were written between 1875 and 1876. They represent a
high point in Dvořák’s settings for such forces, in the charm of their apparent simplicity, their
appealing melodic and rhythmic style, and their expression of both joy and melancholy. There is a great
range of emotion, from carefree jubilation to profound meditation, in the 12 Večerní písně (‘Evening
Songs’, opp.3, 9 and 31, B61), probably composed in 1876. Dvořák arranged nos.2 and 3, Mně zdálo se
žes umřela (‘I dreamt that you were dead’) and Já jsem ten rytíř z pohádky ‘I am that knight of fairy
tale’), for voice and orchestra in 1882. Another high point in Dvořák’s output of songs is the set of
Zigeunermelodien B104 (1880), composed to a German text. The songs unite expressive use of the
voice and a colourful, often dance-like piano accompaniment that sometimes imitates the dulcimer. In
the famous fourth song, Als die alte Mutter (‘Songs my mother taught me’), the voice part in 2/4
contrasts in an unusual way with the piano accompaniment in 6/8. Also among Dvořák’s best songs are
those of V národním tónu (‘In Folk Tone’, 1886, B146) and the Vier Lieder (1887–8, B157). Ach není,
není, tu, co by mě těšilo (‘There is nothing here to comfort me’, no.3 of B146) is notable for its
harmonic colour and Lasst mich Allein (no.1 of the Vier Lieder) for its meditative tone.

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Verses from the Psalms selected by Dvořák from the Bible of Kralice are the basis of the Biblical Songs
(1894, B185), Dvořák’s last song set and in its religious approach his most personal. Often reminiscent
of archetypal sacred music, as if part of an imaginary church service, the songs suggest chanting (for
example in no.4, Hospodin jest můj pastýř, ‘The Lord is my shepherd’). The text is highlighted and its
meaning emphasized by the restrained, often sparse, piano accompaniment.

Works

Editions:

Antonín Dvořák: Souborné výdaní [Complete edition], ed. O. Šourek and others
(Prague, 1955–) [AD]

B Burghauser thematic catalogue no. S Šourek catalogue no. † completed at some time between dates
given

Symphonies

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 B S Op. No. Composition Publication Remarks AD

9 — — no. before 14 Feb – — called ‘Zlonické iii/

1, c 24 March 1865 zvony’ [The Bells of 1
Zlonice]; 1st perf.
Brno, 4 Oct 1936

12 7 4 no. 1 Aug – 9 Oct — rev. 1887; 1st perf. iii/

2, 1865 Prague, 11 March 2
B♭ 1888

34 19 10 no. ?April – 4 July Berlin, 1911 1st perf. Prague, 29 iii/

3, 1873 March 1874; rev. 3
E♭ 1887–9

41 22 13 no. 1 Jan – 26 Berlin, 1912 rev. 1887–8 1st perf. iii/

4, d March 1874 Prague, 6 April 4
1892; listed
variously as opp.18,
19, 24

54 32 76 no. 15 June – 23 Berlin, 1888 1st perf. Prague, 25 iii/

5, F July 1875 March 1879; ded. H. 5
von Bülow; rev.
1887; 1st pubd as
Sym. no.3; once
known as op.24

112 78 60 no. 27 Aug – 15 Berlin, 1882 1st perf. Prague, 25 iii/

6, D Oct 1880 March 1881; ded. H. 6
Richter; 1st pubd as
Sym. no.1; formerly
called op.58

141 94 70 no. 13 Dec 1884 – Berlin, 1885 1st perf. London, 22 iii/
7, d 17 March 1885 April 1885; rev. June 7
1885; 1st pubd as
Sym. no.2

163 109 88 no. 26 Aug – 8 Nov London 1st perf. Prague, 2 iii/
8, G 1889 1892 Feb 1890; 1st pubd 8
as Sym. no.4

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 178 117 95 no. 10 Jan–24 May Berlin, 1894 called ‘Z Nového iii/
9, e 1893 světa’ [From the 9
New World]; 1st
perf. New York, 16
Dec 1893; 1st pubd
as Sym. no.5

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Concertos and other works for solo instrument with orchestra

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 B S Op. Title Composition Publication Remarks AD

10 — — Cello completed 30 — with pf acc.; ? iv/

Concerto, June 1865 1st perf. 2
A Prague, 26
April 1929; rev.
G. Raphael
(Leipzig,
1929); orchd J.
Burghauser
(Prague, 1977)

39 20 11 Romance, †Oct 1873 – 9 Berlin, 1879 1st perf. iii/

f, vn Dec 1877 Prague, 9 Dec 23
1877; arr. of
Andante from
Str Qt B37

63 42 33 Piano ?Aug – 14 Breslau, 1st perf. iii/

Concerto, Sept 1876 1883 Prague, 24 10
g March 1878

90 64 49 Mazurek, completed 15 Berlin, 1879 iii/

vn Feb 1879 23

96 68 53 Violin 5 July – mid- Berlin, 1883 rev. 1882; 1st iii/

Concerto, Sept 1879 perf. Prague, 11
a 14 Oct 1883

108 4 April – 25
May 1880

181 114 94 Rondo, g, 16 – 22 Oct Berlin, 1894 arr. from B171 iii/
vc 1893 23

182 90 68/5 Klid 28 Oct 1893 Berlin, 1894 arr. from iii/
[Silent B133/5 23
woods],
vc

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 191 125 104 Cello 8 Nov 1894 – Berlin, 1896 rev., completed iii/
Concerto, 9 Feb 1895 11 June 1895; 12
b 1st perf.
London, 19
March 1896

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Other orchestral

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 B S Op. Title Composition Publication Remarks AD

4 — — Harfenice [The ?1862 – 4 — lost —

woman harpist],
polka

5–6 3 — Polka and Galop ?1861 or — lost —

1862

15 — — Seven pieces 12 Jan–5 Feb — 1st perf. iii/

(Interludes), 1867 London, 24
small orch 31 Jan
1991

15bis — — [Serenade], fl, vn, completed 26 — vii/

vc, triangle] Jan 1867 9

16a (8) (1) Tragická completed 19 Berlin, 1912 ov. to i/

ouvertura Oct 1870 Alfred 1a
(Dramatická (B16);
ouvertura) also listed
as op.10,
op.13

21a 12 (12) Overture, F completed 20 — ov. to i/2

Dec 1871 King and
Charcoal
Burner (i)
(B21);
also listed
as op.2,
op.13, op.
14

31 — — Three nocturnes, ?Oct 1872 — nos.1, 3, vii/

no.2: Májová noc lost 10
[May night] also listed
as op.18

35 — — Romeo a Julie, June – July — lost —

overture 1873 also listed
as op.21

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 44 24 14 Symfonická báseň Aug – 12 Sept Berlin, 1912 1st perf. iii/
[Sym, Poem] 1874 Vienna, 18
(Rhapsodie), a 17 Dec
1901;
also
known as
op.15, op.
18, op.19

47 10 40 Nocturne, B, str ?Jan 1875 Berlin, 1883 rev. 1882 iii/

or 1883; 24
arr. from
Str Qt
B19 and
Str Qnt
B49

52 29 22 Serenade, E, str 3–14 May Berlin, 1879 1st perf. iii/

1875 Prague, 16
10 Dec
1876; arr.
pf 4
hands
(Prague,
1877)

70 48 78(28) Symfonické 6 Aug – 28 Berlin, 1888 on ‘Já iii/

variace Sept 1877 jsem 22
[Symphonic huslař’ [I
Variations] am a
Fiddler],
B66/3; 1st
perf.
Prague, 2
Dec 1877

77 53 44 Serenade, d, 2 4–18 Jan Berlin, 1879 1st perf. iii/

ob, 2 cl, 2 bn, 1878 Prague, 16
dbn, 3 hn, vc, db 17 Nov
1878

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 83 55 46 Slovanské tance April – 22 Berlin, 1878 arr. from iii/
[Slavonic Aug 1878 B78; 1st 19
Dances], 1st ser. perf., nos.
1, 3, 4,
Prague,
16 May
1878;
complete,
Dresden,
4 Dec
1878
(nos.1–4),
18 Dec
1878
(nos.5–8)

86 54 45 Slavonic 13 Feb – 3 Berlin, 1879 1st perf., iii/

Rhapsodies, 1 D, Dec 1878 nos.1–2, 18
2 g, 3 A♭ Prague,
17 Nov
1878; no.
3, Berlin,
24 Sept
1879

88 65 54 Slavnostní ? Jan or Feb Prague, for the iii/

pochod [Festival 1879 1879 silver 24
March] wedding
of Franz
Josef and
Elisabeth
of
Austria;
1st perf.
Prague,
23 April
1879

93 66 39 Česká suita ?April 1879 Berlin, 1881 1st perf. iii/

[Czech Suite], D Prague, 17
16 May
1879

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 97 33 25 Vanda Overture Aug – ?Oct Leipzig, ? for iii/
1879 1885 Vanda, 24
B55

99 72 — Pražské valčiky ? 10–12 Dec — 1st perf. iii/

[Prague Waltzes] 1879 Prague, 24
28 Dec
1879; arr.
pf
(Prague,
1880)

100 67 — Polonaise, E♭ 20–24 Dec — 1st perf. iii/

1879 Prague, 6 24
Jan 1880;
arr. pf 4
hands by
J. Zubatý,
rev.
Dvořák
(Prague,
1883)

105 71 54 Two Waltzes, str †9Dec 1879 – Berlin, 1911 1st perf. iv/
March 1880 Prague, 6
29 March
1880; arr.
of B101,
nos.1, 4

114 (3) 53A/1 Polka ‘Pražským 14 Dec 1880 — 1st perf. iii/
akademikum’ [For Prague, 6 24
Prague Students], Jan 1881;
B♭ arr. pf
(Prague,
1882)

119 (3) 53A/2 Kvapík [Galop], E ? Dec 1881 — 1st perf. vii
Prague, 6
Jan 1882;
anon. arr.
pf
(Prague,
1882)

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 122 80 59 Legendy 13 Nov – 9 Berlin, 1882 arr. from iii/
[Legends] Dec 1881 B117 21

125a (83) 62 Domov můj [My 21–3 Jan Berlin, 1882 from i/9
Homeland], 1881 Josef
overture Kajetán
Tyl, incid
music,
B125; 1st
perf.
Prague, 3
Feb 1882

131 88 66 Scherzo 4 April – 2 Berlin, 1884 1st perf. iii/

capriccioso May 1883 Prague, 22
16 May
1883

132 89 67 Husitská, before 9 Aug Berlin, 1884 1st perf. iii/

dramatická – 9 Sept 1883 Prague, 13
ouvertura 18 Nov
[Hussite 1883
overture]

147 98 72 Slovanské tance mid-Nov Berlin, 1887 arr. from iii/

[Slavonic 1886 – 5 Jan B145; 1st 20
Dances], 2nd ser. 1887 perf., nos.
9, 10, 15,
Prague, 6
Jan 1887

167 — — Fanfares, 4 tpt, 30 April 1891 — for the vii

timp opening
festivities
of the
Regional
Jubilee
Exhibition
in
Prague;
1st perf.
Prague,
15 May
1891

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 168 113 91 V přírodě [In 31 March–8 Berlin, 1894 B168, iii/
Nature’s Realm], July 1891 169, 174 13
concert overture composed
together
as
Příroda,
Život a
Láska
[Nature,
Life and
Love]; 1st
perf.
Prague,
28 April
1892;
earlier
known as
op.91,
nos.1–3

169 113 92 Karneval 28 July – 12 Berlin, 1894 iii/

[Carnival], Sept 1891 13
concert overture

174 113 93 Othello, concert before Nov Berlin, 1894 iii/

overture 1891 – 18 Jan 13
1892

190 121 98b Suite, A begun 19 Jan Berlin, 1911 arr. from iii/
1895 B184 7

195 129 107 Vodník [The 6 Jan – 11 Berlin, 1896 private iii/
Water Goblin], Feb 1896 perf. 14
sym. poem after Prague, 3
K.J. Erben June
1896;
London,
14 Nov
1896

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 196 130 108 Polednice [The 11 Jan – 27 Berlin, 1896 private iii/
Noon Witch], Feb 1896 perf., 14
sym. poem after Prague, 3
Erben June
1896;
London,
21 Nov
1896

197 131 109 Zlatý kolovrat 15 Jan – 25 Berlin, 1896 private iii/
[The Golden April 1896 perf., 14
Spinning-Wheel], Prague, 3
sym. poem after June
Erben 1896;
London,
26 Oct
1896

198 132 110 Holoubek [The 22 Oct – 18 Berlin, 1899 1st perf. iii/
Wild Dove], sym. Nov 1896 Brno, 20 15
poem after Erben March
1898

199 133 111 Píseň bohatýrská 4 Aug – 25 Berlin, 1899 1st perf. iii/
[A Hero’s Song], Oct 1897 Vienna, 4 15
sym. poem Dec 1898

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Chamber

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 B S Op. Title Composition Publication Remarks AD

7 4 1 String begun 6 June Prague, 1st perf. iv/

Quintet, a, 2 1861 1943 Prague, 15 8
vn, 2 va, vc Dec 1921

8 5 2 String March 1862 Prague, 1st perf. iv/

Quartet no.1, 1948 Prague, 6 5
A Jan 1888;
once listed
as op.1

14 — — Clarinet †? 1865 or — lost, ? —

Quintet, b♭ 1869 destroyed;
listed as ?
op.5, ?op.6

17 — — String †?1868–70 — iv/

Quartet no.2, 5
B♭

18 9 — String †?1869–70 — 1st perf. iv/

Quartet no.3, Prague, 12 5
D Jan 1969

19 10 — String ? Dec 1870 — once listed iv/

Quartet no.4, as op.9; 5
e Andante
religioso
adapted in
Nocturne
B48a and
Str Qnt B49

20 11 — Cello Sonata, completed 4 — lost vii

f Jan 1871 once listed
as op.10

25 — (13) Piano Trio ? 1871 or — lost —

1872 (destroyed);
listed as op.
13, [no.1]

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 26 — (13) Piano Trio ? 1871 or — lost —
1872 (destroyed);
listed as op.
13, [no.2]

28 16 5 Piano ?Aug – ?Sept — 1st perf. iv/

Quintet, A 1872 Prague, 22 11
Nov 1872;
once listed
as op.15

33 — — Violin Feb 1873 — lost —

Sonata, a (destroyed);
once listed
as op.19

36 — — Octet completed — lost —

(Serenade), 2 Sept 1873 (destroyed);
vn, va, db, cl, once listed
bn, hn, pf as op.22

37 20 9 String Sept–4 Oct Leipzig, rev. for iv/

Quartet no.5, 1873 1929 pubn by G. 5
f Raphael
once listed
as op.23

38 — 11 Romance, f, †Oct 1873 – 9 Berlin, 1879 transcr. of iv/

vn, pf Dec 1877 Andante 1
con moto
from Str Qt
B37 pubd pf
part by J.
Zubatý

40 21 12 String Nov – 5 Dec — rev., inc.; iv/

Quartet no.6, 1873 completed 5
a by J.
Burghauser

40a — — Andante Nov/Dec — once part of iv/

appassionato, 1873 Str Qt B40 5
F, 2 vn, va, vc

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 45 25 16 String ?14–24 Sept Prague, 1st perf. iv/
Quartet no.7, 1874 1875 Prague, 29 6
a Dec 1878;
score
(Berlin,
1894)

48a — 40 Nocturne, B, †1875–83 Berlin, 1883 adapted iv/

vn, pf from 1
Andante
religioso, St
Qt B19

49 27 77 String ?Jan – March Berlin, 1888 orig. slow iv/

Quintet, G, 2 1875 movt 8
vn, va, vc, db adapted
from
Andante
religioso,
Str Qt B19;
1st perf.
Prague, 18
March
1876;
definitive
(4-movt)
version,
Boston, 25
Nov 1889;
1st listed as
op.18; rev.
Jan 1888

51 30 21 Piano Trio, by 14 May Berlin, 1880 1st perf. iv/

B♭ 1875 Prague, 17 9
Feb 1877;
rev. ?1880

53 31 23 Piano 24 May – 10 Berlin, 1880 1st perf. iv/

Quartet, D June 1875 Prague, 16 10
Dec 1880

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 56 34 26 Piano Trio, g 4–20 Jan Berlin, 1880 1st perf. iv/
1876 Turnov, 29 9
June 1879

57 35 80 String 20 Jan – 4 Berlin, 1888 rev. 1888; iv/

Quartet no.8, Feb 1876 1st perf. 6
E Hamburg,
19 Nov
1888; 1st
listed as op.
27

75 52 34 String 7–18 Dec Berlin, 1880 rev. 1879; iv/

Quartet no.9, 1877 1st perf. ? 6
d Trieste, 14
Dec 1881; ?
once listed
as op.43

79 56 47 Maličkosti 1–12 May Berlin, 1880 1st perf. 2 iv/

[Bagatelles], 1878 Feb 1879 10
2 vn, vc, hmn

80 57 48 String 14–27 May Berlin, 1879 1st perf. iv/

Sextet, A, 2 1878 Berlin, 9 8
vn, 2 va, 2 vc Nov 1879

81 58 — Capriccio, ?June 1878 Leipzig, rev. 1892; iv/

vn, pf 1929 rev. for 8
pubn by G.
Raphael;
also known
as Concert
Rondo;
variously
listed as
opp.24,
27; ? also
arr. vn,
orch, lost

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 89 64 49 Mazurek, vn, Feb 1879 Berlin, 1879 1st perf. iv/
pf Prague, 29 1
March
1879; arr.
vn, orch as
B90

92 62 51 String 25 Dec 1878– Berlin, 1879 1st perf. iv/

Quartet no. 28 March Magdeburg, 6
10, E♭ 1879 10 Nov
1879

94 — — Polonaise, A, ?June 1879 Vienna, 1st perf. iv/

vc, pf 1925 Turnov, 29 3
June 1879;
rev. for
pubn by W.
Feral

105 71 54 2 Waltzes, ? Feb 1880 Berlin, 1911 arr. of nos. iv/

str, qt, ad lib 1, 4 of B101 6
db/str orch

106 75 57 Violin 3–17 March Berlin, 1880 1st perf. ? iv/

Sonata, F 1880 Chrudim, 1
23 Sept
1880

120 — — Quartet completed 7– Prague, 1st perf. iv/

movement, F, 9 Oct 1881 1951 Prague 6
str qt radio, 29
April 1945

121 82 61 String before 25 Oct Berlin, 1882 1st perf. iv/

Quartet no. – 10 Nov Berlin, 2 7
11, C 1881 Nov 1882

130 87 65 Piano Trio, f 1 Feb – 31 Berlin, 1883 once listed iv/

March 1883 as op.64 9

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 139 95 15/1 Ballad, d, vn, †?Sept – Oct 1st pubd in iv/
pf 1884 Magazine 1
of Music, i
(1884),
Christmas
suppl.

148 100 74 Terzetto, C, 2 7–14 Jan Berlin, 1887 1st perf. iv/
vn, va 1887 Prague, 30 4
March 1887

149 — 75a Drobnosti ? completed Prague, rev. as iv/

[Miniatures], 18 Jan 1887 1945 Romantic 4
2 vn, va Pieces,
B150; ? 1st
perf.
Prague, 24
Feb 1938

150 101 75 Romantické ?20–25 Jan Berlin, 1887 1st perf. iv/
kusy 1887 Prague, 30 1
[Romantic March
pieces], vn, 1887; rev.
pf of
Miniatures,
B149

152 (6) — Ohlas písní 21 April – 21 Prague, arr. of nos. iv/

[Echo of May 1887 1921 6, 3, 2, 8, 7
Songs], 2 vn, 12, 7, 9, 14,
va, vc 4, 16, 17,
18 from
Cypřiše,
B11; nos.
16, 18
unpubd

155 103 81 Piano 18 Aug–3 Oct Berlin, 1888 1st perf. iv/
Quintet, A 1887 Prague, 6 11
Jan 1888;
once listed
as op.77

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 162 108 87 Piano 10 July – 19 Berlin, 1890 1st perf. iv/
Quartet, E♭ Aug 1889 Frankfurt, 10
17 Oct
1890

164 111 — Gavotte, 3 vn 19 Aug 1890 Prague, pubd in iv/

1890 Mladý 4
houslista, i,
ed. V.J.
Novotný

166 112 90 Dumky, pf, Nov 1890 – Berlin, 1894 1st perf. iv/
vn, vc 12 Feb 1891 Prague, 11 9
April 1891

170 — 46/2 Slovanský 1879 or ? — 1st perf. iv/

tance Dec 1891 Turnov, 29 1
[Slavonic June 1879;
Dance], e, vn, arr. of B78
pf no.2

171 114 94 Rondo, g, vc, 25–6 Dec Berlin, 1894 1st perf. iv/
pf 1891 Rakovník, 3 3
Jan 1892;
orchd as
B181; once
listed as op.
92

172 (55) 46/8 Slovanský, 27 Dec 1891 — 1st perf. iv/

[Slavonic Chrudim, 8 3
Dance], g, vc, Jan 1892;
pf arr. of B78
no.8

173 (90) 68/5 Klid [Silent 28 Dec 1891 Berlin, 1894 1st perf. iv/
Woods], vc, Rakovník, 3 3
pf Jan 1892;
arr. of B133
no.5

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 179 118 96 String 8–23 June Berlin, 1894 ‘The iv/
Quartet no. 1893 American’, 7
12, F 1st perf.
Boston, MA,
1 Jan 1894

180 119 97 String 26 June – 1 Berlin, 1894 ‘The iv/

Quintet, E♭, 2 Aug 1893 American’, 8
vn, 2 va, vc 1st perf.
New York,
12 Jan 1894

183 120 100 Sonatina, G, 19 Nov – 3 Berlin, 1894 1st perf. iv/
vn, pf Dec 1893 Brno, 10 1
Jan 1896

192 128 106 String before 11 Berlin 1896 1st perf. iv/
Quartet no. Nov–9 Dec Prague, 9 7
13, G 1895 Oct 1896

193 127 105 String 26 March – Berlin, 1896 1st perf. iv/
Quartet no. 30 Dec 1895 Prague, 20 7
14, A♭ Oct 1896

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Keyboard
for piano 2 hands, unless otherwise stated

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 B S Op. Title Composition Publication Remarks AD

1 1 — Polka †1854–?1865 — trio by A. vii

pomněnka Liehmann
[Forget-me-
not Polka], C

302 — — Preludes and 1859 nos.1, [7], vii

Fuges, org: pubd in
1–4, Česká
Preludes, D, varhanní
G, a, B♭; 5, tvorba, i
Prelude on a (1954)
Given Theme,
D; [6],
Fughetta 1,
D; [7], Fugue,
D; [8], Fugue,
g

3 2 — Polka, E 27 Feb 1860 — ? doubtful v/1

22 (12) — Themes †?1871–3 Prague, vii

[Motivy] from 1873
King and
Charcoal
Burner (i)

43 (23) — Potpourri †?1874–5 Prague, vii

[Směs] from 1875
King and
Charcoal
Burner (ii)

48b — (40) Nocturne, B, ?1882 — adapted from v/6

pf 4 hands Andante
religioso, Str
Qt B19

58 36 28 Two Minuets, ?Feb 1876 Prague, v/1

A♭, F 1879

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 64 43 35 Dumka, d Dec 1876 Berlin, 1879 v/1
or ?1878

65 44 36 Tema con Dec 1876 Berlin, 1879 v/1

variazioni, A♭ or ?1878

74 50 41 Skotské †? Nov – Dec Prague, v/1

tance 1877 1879
[Scottish
Dances], d

78 55 46 Slovanské 18 March – 7 Berlin, 1878 orchd as v/5

tancy, May 1878 B83; no.2 arr.
[Slavonic vn, pf, B170;
Dances], 1st no.8 arr. vc,
ser., pf 4 pf, B172
hands: C, e,
A♭, F, A, D, c,
g

85 50 42 Furianty, D, F 29 May – 25 Berlin, 1879 1st perf. v/1

Sept 1878 Prague, 17
Nov 1878

98 70 8 [12] †1875 – Oct/ Leipzig, early drafts v/1

Silhouettes: Nov 1879 1880 made c1870–
c♯, D♭, D♭, f♯, 72, known as
f♯, B♭, b, b, B, B32
e, A, c♯

101 71 54 [8] Waltzes: 1 Dec 1879 – Berlin, 1880 nos.1, 4 arr. v/2
A, a, E, d♭, g, 17 Jan 1880 str qt as
F, d, E♭ B105

103 74 56 Eclogues: 1 24 Jan–7 Feb Prague, v/2

Allegro non 1880 1921
tanto (quasi
polka), 2
Quasi
allegretto, 3
Moderato, 4
Allegretto

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 109 — — Lístky do 27–31 May Prague, v/2
památníku 1880 1921
[Album
Leaves]

110 76 52 Piano pieces: ?June 1880 nos.1–4 v/2

1 Impromptu, (Leipzig,
2 Intermezzo, 1881), no.5
3 Gigue, 4 (Prague,
Eclogue, 5 1921)
Allegro
molto, 6
Tempo di
marcia

111 77 56 Mazurkas: 13 – ?23 June Berlin, 1880 1st edn omits v/2
A♭, C, B♭, d, 1880 no.4, incl.
F, b inc. version
of Eclogue
B103, no.1

116 — — Moderato, A 3 Feb 1881 Prague, v/2

1921

117 80 59 [10] Legends, before 30 Berlin, 1881 orchd as v/6

pf 4 hands: d, Dec 1880 – B122
G, g, C, A♭, 22 March
c♯, A, F, D, b♭ 1881

128bis — — Otázka 13 Dec 1882 — v/2

[Question]

129 86 — Impromptu, Jan 1883 Prague, pubd as first v/3

d? 1883 musical
suppl. to
Humoristické
listy

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 133 90 68 Ze Šumavy ?Sept 1883 – Berlin, 1884 no.5 arr. vc, v/6
[From the 12 Jan 1884 pf, B172
Bohemian
Forest], pf 4
hands: 1 Na
přástkách [In
the Spinning-
Room], 2 U
černého
jezera [By the
Black Lake],
3 Noc
filipojakubská
[Witches’
Sabbath], 4
Na čekání
[On the
Watch], 5
Klid [Silent
Woods], 6 Z
bouřlivých
dob [In
Troublous
Times]

136 93 12/1 Dumka, c ?Sept 1884 Prague and v/3

Paris, 1885

137 93 12/2 Furiant, g ?Sept 1884 1st pubd in v/3

Magazine of
Music i
(1884),
Christmas
suppl.

138 92 — Humoreska, †1884–92 Prague, ? v/3

F♯ 1884

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 145 98 72 Slovanské before 9 June Berlin, 1886 orchd as v/5
tance, – 9 July 1886 B147
[Slavonic
Dances], 2nd
ser, pf 4
hands: B, e,
F, D♭, b♭, B♭,
C, A♭

156 104 — Dvě perličky ?Dec 1887 Prague, v/3

[Two little 1888
pearls]: 1 Do
kola [In a
Ring], 2
Dědeček
tanči s
babičkou
[Grandpa
Dances with
Grandma]

158 — — Lístek do 21 July 1888 — v/2

památníku
[Album Leaf],
E♭

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 161 107 85 Poetické 16 April– 6 Berlin, 1889 once listed v/3
nálady June 1889 as op.84
[Poetic tone
pictures]: 1
Noční cestou
[Twilight
Way], 2
Žertem
[Toying], 3
Na starém
hradě [In the
Old Castle], 4
Jarni [Spring
Song], 5
Selská balada
[Peasant
Ballad], 6
Vzpomínání
[Reverie], 7
Furiant, 8 Rej
skřítků
[Goblins’
Dance], 9
Serenade, 10
Bacchanalia,
11 Na
táčkách
[Tittle-Tattle],
12 U mohyly
[At a Hero’s
Grave], 13
Na svaté
hoře [On the
Holy
Mountain]

303 — — Theme for ?1891 Prague, vii

Variations 1894
(for O.
Nedbal)

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 184 121 98 Suite, A 19 Feb – 1 Berlin, 1894 known v/4
March 1894 earlier as op.
101; orchd
as B190

187 123 101 [8] 7–27 Aug Berlin, 1895 v/4

Humoresky: 1894
e♭, B, A♭, F, a,
B, G♭, b♭

188 124 — 2 pieces: 1 28 Aug – 7 Berlin, 1911 op. posth. v/4

Ukolébavka Sept 1894
[Lullaby], 2
Capriccio

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Stage

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 B S Op. Title Composition Publication Remarks AD

16 8 — Alfred before 26 — text in Ger.; 1st i/1

(heroic May –19 Oct perf. Olomouc,
opera, 3, K.T. 1870 Czech Theatre,
Körner) 10 Dec 1938;
listed both as
op. 1 and as op.
10

21 12 — Král a uhlíř ?April – 20 — 1st perf. Prague, i/2

[King and Dec 1871 National, 28
Charcoal May 1929
Burner]
(opera, 3, B.J.
Lobeský [B.
Guldener]

42 23 (14) Král a uhlíř 17 April – 3 — 1st perf. Prague, i/3

(ii) (opera, Nov 1874 Provisional, 24
Lobeský) Nov 1874; with
new version of
‘Balada Křále
Matyáše’ [Ballad
of King
Mathias],
composed †Dec
1880 – Jan 1881
(B115); rev. as
B151

46 26 17 Tvrdé palice ?Sept (before vocal score, 1st perf. Prague, i/4
[The 4 Oct) 1874 – Berlin, 1882 New Czech, 2
Stubborn 24 Dec 1874 Oct 1881
Lovers]
(comic opera,
1, J. Stolba)

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 55 33 25 Vanda (tragic 9 Aug – 22 — 1st perf. Prague, i/5
opera, 5, V.B. Dec 1875 Provisional, 17
Šumavský April 1876; rev.
and F. 1879–80, 1883,
Zákrejs, after 1900–01; ov.
J. Surzycki) written 1879 as
B97

67 46 37 Šelma sedlák Feb – July Berlin, 1882 1st perf. Prague, i/6
[The Cunning 1877 Provisional, 27
Peasant] Jan 1878; ov.
(comic opera, pubd Berlin,
2, J.O. Veselý) 1879

125 83 62 Josef Kajetán Dec 1881 – arr. pf 4 1st perf. Prague, i/9
Tyl (ov. and 23 Jan 1882 hands, Provisional, 3
incidental Prague, Feb 1882; pf arr.
music, F.F. 1882 by J. Zubatý; ov.
Šamberk) pubd as Domov
můj, B125a

127 85 64 Dimitrij (i) 8 May 1881 – vocal score, 1st perf. Prague, 1/7
(opera, 4, M. 23 Sept 1882 Prague, New Czech, 8
Červinková- 1885 Oct 1882; rev.
Riegrová) 1883, 1885
[pubd vs arr.
Zubatý, J. Kàan];
rev. 1894–5 as
B186

151 23 14 Král a uhlíř 1 Feb – vocal score, rev. of B42; 1st i/3
(iii) (comic March 1887 Prague, perf. Prague,
opera, 3, 1915 National, 15
Lobeský, rev. June 1887; pubd
V.J. Novotný) vs arr. R. Veselý

159 106 84 Jakobín (i) 10 Nov 1887 vocal score, 1st perf. Prague, l/
[The Jacobin] – 18 Nov Prague, National, 12 Feb 10
(opera, 3. 1888 1911 1889; vs rev. K.
Červinková- Kovařovic, arr.
Riegrová) Veselý; rev. as
B200

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 186 — 64 Dimitrij (ii) 9 April – 31 vocal score, rev. of B127; 1st 1/8
(opera, 4, July 1894 Prague, perf. Prague,
Červinková- 1912 National, 7 Nov
Riegrová) 1894; pubd vs
rev. K.
Kovařovic

200 (106) 84 Jakobín (ii) 17 Feb – 7 vocal score, rev. of B159; 1st i/
(opera, 3, Dec 1897 Prague, perf. Prague, 10
Červinková- 1911 National, 19
Riegrová, rev. June 1898
with F.L.
Rieger)

201 134 112 Čert a Káča 5 May 1898 – vocal score, 1st perf. Prague, i/
[The Devil 27 Feb 1899 Prague, National, 23 11
and Kate] 1908 Nov 1899
(comic opera,
3, A. Wenig,
after Cz. fairy
tale)

203 136 114 Rusalka (lyric 21 April – 27 vocal score, 1st perf. Prague, i/
fairy tale, 3, Nov 1900 Prague, National, 31 12
J. Kvapil, 1905 March 1901;
after F. de La pubd vs arr. J.
Motte Faměra
Fouqué:
Undine

206 138 115 Armida 11 March vocal score, 1st perf. Prague, i/
(opera, 4, J. 1902 – 23 Prague, National, 25 13
Vrchlický, Aug 1903 1941 March 1904;
after T. pubd vs arr. K.
Tasso: Šolc
Gerusalemme
liberata

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Cantatas, masses, oratorios

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 B S Op. Title Composition Publication Remarks AD

2 — — Mass, B♭ †1857–9 — lost —

(destroyed)

27 15 30 Hymnus: ?May – 3 June 3rd version, 1st perf. ii/5

Dědicové 1872 London Prague, 9
bilé hory 1885 March 1873;
[Hymn: the 1st version
Heirs of the listed as op.4
White and op.14;
Mountain] rev. Jan 1880
(V. Hálek), as B102; 2nd
chorus, rev.,
orch completed 3
May 1884,
London, 13
May 1885

71 38 58 Stabat 19 Feb 1876 Berlin, 1881 1st perf. ii/1

mater – 13 Nov Prague, 23
(Jacopone 1877 Dec 1880;
da Todi), S, once listed as
A, T, B, op.28
chorus,
orch

91 63 79 Psalm cxlix 13 Jan – 24 rev. version, 1st perf. ii/6

(Bible of Feb 1879 Berlin, 1888 Prague, 16
Kralice), March 1879;
male vv, once listed as
orch op.52; rev. for
mixed choir
as B154, op.
79. ?July
1887; 1st
perf.
Rotterdam,
14 Dec 1888

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 135 91 69 Svatební 26 May – 27 London, 1st perf. ii/2
košile [The Nov 1884 1885 Plzeň, 28
spectre’s March 1885
bride]
(dramatic
cantata, K.J.
Erben), S, T,
B, chorus,
orch

144 97 71 Svatá 17 Sept London, 1st perf. ii/3

Ludmila [St 1885–30 May 1887 Leeds, 15 Oct
Ludmilla] 1886 1886; add
(oratorio, J. recit by
Vrchlický), Vrchlický, V.J.
S, A, T, B, Novotný
chorus, [B205], for
orch stage perf.,
Prague, 30
Oct 1901

153 102 86 Mass, D (S, 26 March – orchd private perf., ii/

A, T, B)/ 17 June 1887 version, Lužany, 11 7,
small choir, London, Sept 1887; 8
chorus, org 1893 once listed as
op.76; orchd
as B175, 24
March – 15
June 1892;
perf. London,
11 March
1893

165 110 89 Requiem, S, 1 Jan – 31 Oct London, 1st perf. ii/4

A, T, B, 1890 1891 Birmingham,
chorus, 9 Oct 1891
orch

176 115 103 Te Deum, S, 25 June – 28 Berlin, 1896 1st perf. New ii/6
B, chorus, July 1892 York, 21 Oct
orch 1892; once
listed as op.
93, op.98

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 177 116 102 The 3 Aug 1892 – vs, New 1st perf. New ii/5
American 8 Jan 1893 York 1895 York, 4 May
Flag 1895; once
(cantata, listed as op.
J.R. Drake), 94 and op.99
A, T, B,
chorus,
orch

202 135 113 Slavnostní ?7–17 April vs, Prague, private perf., ii/5
zpěv 1900 1902 Prague, 29
[Festival May 1900
song]
(Vrchlický),
chorus,
orch

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Other choral

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 B S Op. Title Composition Publication Remarks AD

59 37 29 Čtyři sbory [4 †7 Feb 1876 – Prague, nos.3, 4 set vi/

Choruses], 1878 1879 to Moravian 4
mixed vv, folk poems
unacc.: 1
Misto klekání
[Evening’s
blessing] (A.
Heyduk), 2
Ukolébavka
[Lullaby]
(Heyduk), 3
Nepovím [I
don’t say it],
4 Opuštěný
[The
Forsaken
One]

66 45 — Sbotové 12–16 Jan Prague, nos.1, 2 set vi/

písně [Choral 1877 1921 to Moravian 4
Songs], male folk poems
vv, unacc.: 1
Převozníček
[The
Ferryman], 2
Milenka
travička [The
Beloved as
Poisoner], 3
Huslař [The
Fiddler]
(Heyduk)

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 72 45 41 Kytice z ?Nov 1877 nos.1–3 set to Cz. vi/
českých Prague, and 4
národnich 1877 Moravian
písní folk poems;
[Bouquet of nos.1–4
Czech (Prague,
Folksongs], 1921), with
male vv, B66
unacc.: 1
Zavedený
ovčák [The
Betrayed
Shepherd], 2
Úmysl
milenčin [The
Sweetheart’s
Resolve], 3
Kalina [The
Guelder
Rose], 4
Český
Diogenes
[Czech
Diogenes]

73 — — Píseň čecha ?Nov 1877 Prague, inc. vi/

[The song of 1921 4
a Czech] (F.J.
Vacek-
Kamenický,
male vv,
unacc.

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 76 51 43 Z kytice 21 Dec 1877 Prague, nos.1, 3, set vi/
národních – 6 Jan 1878 1879 to Slovak 4
písní folk poems;
slovanských no.2
[From a Moravian
bouquet of folk poem;
Slavonic arr. pf 4
Folksongs], hands by F.
male vv, pf: 1 Zubatý for
Žal [Sorrow], pubnn
2 Divná voda
[Miraculous
Water], 3
Děvče v háji
[The Girl in
the Woods]

87 61 27 Pět sborů [5 completed 12 Prague, Lithuanian vi/

Partsongs], Dec 1878 1890 folk poems, 4
male vv, trans. F.L.
unacc.: 1 Čelakovský;
Pomluva once listed
[Village as op.30
Gossip], 2
Pomořané
[Dwellers by
the Sea], 3
Přípověď
lásky [The
Love
Promise], 4
Ztracená
ovečka [The
Lost Lamb], 5
Hostina [The
Sparrow’s
Party]

107 — 29/32 Moravské ?18–19 transcr. of vi/

dvojzpěvyh March 1880 B60, 62, 4
[Moravian nos.6, 10,
Duets], 13, 2, 3
female vv,
unacc.

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 126 84 63 V přirodě [In 24–7 Jan Leipzig, 1st perf. vi/
Nature’s 1882 1882 Tábor, 22 6
Realm] (V. Nov 1882
Hálek),
mixed vv,
unacc.: 1
Napadly
písně v duši
mou [Music
Descended to
my Soul], 2
Večerní les
rozvázal
zvonky [Bells
Ring at
Dusk], 3
Žitné pole,
žitné pole
[The Rye
Field], 4
Vyběhla bříza
běličká [The
Silver Birch],
5 Dnes do
skoku a do
písničky!
[With Dance
and Song]

143 96 28 Hymna 13 Aug 1885 vs, Prague, pubd score ii/5

českého 1885 arr. Zubatý,
rolnictva rev. Dvořák
[Hymn of the
Czech
peasants] (K.
Pippich),
mixed vv,
orch

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Songs and duets
for 1 voice and piano unless otherwise stated

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 B S op. Title Composition Publication Remarks AD

11 6 — Cypřiše 10–27 July — nos.1, 5, 9, vii

[Cypresses] (G. 1865 8, 13, 11
Pfleger- rev. as B123;
Moravský): 1 Vy nos.1, 5, 11,
vroucí písně [Sing 13 rev. as
fervent songs], 2 B124; nos.8,
V té sladké moci 3, 9, 6, 17,
[When thy sweet 14, 2, 4, rev.
glances], 3 V tak as B160;
mnohém srdci nos.6, 3, 2,
mrtvo jest [Death 8, 12, 7, 9,
reigns], 4 Ó duše 14, 4, 16,
drahá jedinká 17, 18 arr.
[Thou only dear str qt as
one], 5 Ó byl to B152; no.10
krásný zlatý sen pubd in
[Oh, it was a Dvořákova
lovely golden čítanka
dream], 6 Já vím, (Prague,
že v sladké naději 1929); Eng.
[I know that on trans. by J.
my love], 7 Ó Clapham,
zlatá ro̊že, spanilá provided to
[O charming replace the
golden rose], 8 O composer’s
naši lásce faulty
nekvete [Never declamation
will love lead us], in setting
9 Kol domu se the Cz. text
ted’ potácím [I
wander oft], 10
Mne často týrá
pochyba
[Tormented oft by
doubt], 11 mé
srdce často v
bolesti [Downcast
am I], 12 Zde
hledím na ten
drahý list [Here
gaze I], 13 Na

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 horách ticho a v
údolí ticho
[Everything’s
still], 14 Zde v
lese u potoka [In
deepest forest
glade], 15 Mou
celou duší
zádumně [Painful
emotions pierce
my soul], 16 Tam
stojí stará skála
[There stands an
ancient rock], 17
Nad krajem
vévodi lehký
spánek [Nature
lies peaceful], 18
Ty se ptáš proč
moje zpěvy bouří
[You are asking
why]

13 — — Dvě písně pro 24 Oct 1865 — vii

baryton [2
Baritone Songs]
(A. Heyduk): 1
Kdybys, milé
děvče [If dear
lass], 2 A kdybys
písní stvořená [If
only there were a
song]

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 23 13 — Písně [Songs] (E. Nov 1871 nos.2, 4 vi/
Krásnohorská): 1 pubd in Ger. 1
Lipy [Lime as nos.1, 2
Trees], 2 Proto of 4 Lieder,
[The Reason], 3 op.9 (Berlin,
Překážky 1880); no.5
[Obstacles], 4 frag.
Přemítání
[Meditation], 5
Vzpomínání
[Remembrance]

24 14 5 Sirotek [The ?Nov/Dec Prague, vi/

Orphan] (K.J. 1871 1883 1
Erben)

24bis — — Rozmarýna ?1871 — vi/

[Rosmarine] 1
(Erben)

29 17 6 Čtyři písně [4 ?Sept 1872 Berlin, 1879 pubd in Ger. vi/

Songs] (Serbian and Eng.; 1
folk poems, trans. once listed
S. Kapper): 1 as op.16
Panenka a tráva
[The Maiden and
the Grass], 2
Připamatování
[Warning], 3
Výklad znamení
[Flower Omens],
4 Lásce neujdeš
[No Escape]

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 30 18 7 Písně z Rukopisu 2 Feb – 21 Prague, no.2 vi/
Královédvoyského Sept 1872 1873 completed 2 1
[Songs from the Feb 1872,
Dvůr Králové pubd in
Manuscript]: 1 Dalibor, i
Žežhulice [The (1873),
Cuckoo], 2 suppl.; pubd
Opuščená complete as
[Forsaken], 3 op.17; nos.5,
Skřivánek [The 4, 1, 3 rev.
Lark], 4 Róže as 4 Lieder
[The Rose], 5 aus der
Kytice [Flowery Königinhofer
Message], 6 Handschrift,
Jahody [The op.7 (Berlin,
Strawberries] 1879); all
trans. Eng.
in 16 Songs,
op.17
(London,
1887)

50 28 20 Moravské ?March 1875 Berlin, 1879 Moravian vi/

dvojzpěvy folk poems; 3
[Moravian Duets], no.4
S, T, pf and A, T, completed 3
pf: 1 Proměny July 1876 for
[Destined], 2 S, A, pf as
Rozloučení [The part of B62
Parting], 3
Chudoba [Poverty,
or The Silken
Band], 4 Vuře
šuhaj, vuře [The
Last Wish]

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 60 39 29(32) Moravské 17–21 May Prague, Moravian vi/
dvojzpěvy 1876 1876 folk poems; 3
[Moravian Duets], nos.1–5 1st
S, A, pf: 1 A já ti pubd as op.
uplynu [From 29; nos.6–13
thee now], 2 1st pubd as
Velet’, vtáčku [Fly op.32; nos.
sweetsongster], 3 1–13 as op.
Dyby byla kosa 32 (Berlin,
nabróšená [The 1878) no.14
Slighted Heart], 4 unpubd
V dobrým sme se
sešli [Parting
Without Sorrow],
5 Slavíkovský
polečko malý
[The Pledge of
Love]

62 41 32 6 Holub na javoře 26 June–13 Prague, no. 14 vi/

[Forsaken], 7 July 1876 1876 unpubd 3
Voda a pláč [Sad
of Heart], 8
Skromná [The
Modest Maid], 9
Prsten [The
Ring], 10 Zelenaj
se, zelenaj
[Omens], 11
Zajatá [The Maid
Imprisoned], 12
Neveta [Comfort],
13 Šípek [The
Wild Rose], [14]
Život vojenský
[The Soldier’s
Farewell]

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 61 40 3 Večerní písně ? June – July nos.1–4 rev., vi/1
[Evening Songs] 1876 pubd as op.
(V. Hálek): 1 Ty 3 (Leipzig,
hvězdičky tam na 1881); nos.
nebi [The stars 5, 6 rev.,
that twinkle in pubd in Ger.
the sky], 2 Mně as nos.3, 4
zdálo se žes of 4 Lieder,
umřela [I dreamt op.9 (Berlin,
that you were 1880); nos.
dead], 3 Já jsem 7–11 rev.,
ten rytíř z pubd as op.
pohádky [I am 31 (Prague,
that knight of 1883); no.12
fairy tale], 4 Když unpubd;
Bůh byl nejvíc nos.2–3
rozkochán [When orchd as
God was a happy B128
mood]

9/3 5 Umlklo stromů

šumění [The
soughing of the
trees]

9/4 6 Přilítlo jaro z

daleka [The
spring came
flying]

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 31 7 Když jsem se
díval do nebe
[When I was
gazing], 8 Vy
malí, drobní
ptáčkové [You
little tiny singing
birds], 9 Jsem
jako lípa košatá
[Just like a lime
tree], 10 Vy
všichni, kdo jste
stísněni [All you
with burdens], 11
Ten ptáček, ten se
nazpívá [That
little bird sings]

12 Tak jak ten

měsíc v nebes
báň [Thus as the
moon]

68 (69) 19b Ave Maria 23–4 July Prague, pubd with vi/
(sacred), A/Bar, 1877 1883 B95A 1
org

69 47 38 Moravské ?Aug 1877 Berlin, 1879 Moravian vi/

dvojzpěvy folk poems; 3
[Moravian Duets], 1st pubd in
S, A, pf: 1 Ger. and
Možnost [Hoping Eng.; pubd
in Vain], 2 Jablko in Cz.
[Greeting from (Prague,
Afar], 3 Věneček 1913)
[The Crown], 4
Hoře [The Smart]

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 82 59 — Hymnus k 14 Aug 1878 Prague, pubd vi/
Nejsvětější Tvojici 1911 version rev. 1
[Hymn to the J. Suk as
Most Holy Hymnus ad
Trinity] (sacred), laudes in
1v, org festo
Sanctae
Trinitatis

84a (60) (50) Tři novořecké completed 22 lost —

básně [3 Modern Aug 1878
Greek Poems] v,
orch

84b 60 50 Tři novořecké completed 22 Breslau, vi/

básně [3 Modern Aug 1878? 1883 1
Greek Poems] 1883?
(trans. V.B.
Nebeský): 1
Koljas (Píseň
kleftská) [Klepht
Song], 2 Nereidy
[Nereids], ballad,
3 Žalozpěv Pargy
[Parga’s Lament],
heroic song

95A (69) 19b Ave maris stella 4 Sept 1879 Prague, pubd with vi/
(sacred), 1v, org 1883 B68 1

95B 69 19a O sanctissima 6 Sept 1879 Prague, vi/

dulcis virgo Maria 1883 3
(sacred), A, Bar,
org

95Bbis (69) 19a O sanctissima 28 May 1890 — voice parts vi/

dulcis virgo only 3
Maria! (sacred),
S, A, org

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 104 73 55 Zigeunermelodien ? 18 Jan – ?23 Berlin, 1880 composed to vi/
(Heyduk): 1 Mein Feb 1880 Ger. trans. 1
Lied ertönt, ein by Heyduk;
Liebespsalm, 2 nos.1, 3, 1st
Ei, wie mein perf. Vienna,
Triangel 4 Feb 1881
wunderherrlich
läutet, 3 Rings ist
der Wald so
stumm und still, 4
Als die alte
Mutter, 5
Reingestimmt die
Saiten, 6 In dem
weiten, breiten,
luft’gen
Leinenkleide, 7
Horstet hoch der
Habicht auf den
Felsenhöhen

113 79 — Dětská píseň 14 Nov 1880 pubd in vi/

[Child’s Song] (Š. Hudební 3
Bačkora), 2vv výchova, iv
unacc. (1956)

118 81 — Na tej našej †?March – ? Prague, Moravian vi/

střeše laštovečka May 1881 1882 folk poem; 3
[There on our pubd in
roof a swallow Album of
carries], S, A, pf Umělecká
besedá

123 (6) — [6] Písně [Songs] †?1881–2 — rev. of B11 vi/

(Pfleger- nos.1, 5, 9, 2
Moravský) 8, 13, 11

124 (6) 2 [4] Písně [Songs] †?1881–2 Prague, rev. of B11 vi/
(Pfleger- 1882 nos.1, 5, 11, 2
Moravský) 13

128 — (3) Večerní písně 24 Nov 1882 — orch of B61, ii/5

[Evening Songs] nos.2, 3
(Hálek), 1v, orch

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 140 — — Kačena divoká Sept/Oct — folk poem, —
[The Wild Duck] 1884 lost
once listed
as op.15/?2

142 — — Two songs: 1 1–2 May Prague, Cz. folk vi/

Schlaf, mein 1885 1921 poems; 2
Kind, in Ruh’, 2 composed to
Seh’ ich dich, Ger. trans.
mein liebes
Mädchen

146 99 73 V národním tónu completed 13 Berlin, 1887 nos.1, 2, 4 vi/

[In Folk Tone]: 1 Sept 1886 Slovak folk 2
Dobrú noc, má poems; no.3
mila [Good-night, Cz. folk
my darling], 2 poem
Žalo dievča, žalo
trávu [When a
maiden was a-
mowing], 3 Ach,
není, není tu, co
by mě těšilo
[There is nothing
here to comfort
me], 4 Ej, mám já
koňa faku [I have
a faithful mare]

157 105 82 Vier Lieder (O. ?22 Dec 1887 Berlin, 1888 composed to vi/
Malybrok- – 5 Jan 1888 orig. Ger. 2
Stieler): 1 Lasst
mich allein, 2 Die
Stickerin, 3
Frühling, 4 Am
Bache

160 (6) 83 [8] Písně milostné Dec 1888 Berlin, 1889 rev. of B11, vi/
[Love Songs] nos.8, 3, 9, 2
(Pfleger- 6, 17, 14, 2,
Moravský) 4

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 185 122 99 [10] Biblické 5–26 March Berlin, 1895 nos.1–5 vi/
písně [Biblical 1894 orchd as 2
songs] (Bible of B189, 4–8
Kralice): 1 Oblak Jan 1895,
a mrákota jest pubd for S,
vůkol Něho orch (Berlin,
[Clouds and 1929) with
Darkness], 2 nos.6–10,
Skrýše má a arr. orch by
paveza má Ty jsí V. Zemánek
[Thou art my
hiding-place], 3
Slyš, ó Bože, slyš
modlitbu mou
[Give ear to my
prayer], 4
Hospodin jest můj
pastýř [The Lord
is my shepherd],
5 Bože! Bože!
Píseň novou [I
will sing a new
song], 6 Slyš, ó
Bože, volání mé
[Hear my cry], 7
Při řekách
babylonských [By
the rivers of
Babylon], 8
Popatřiž na mne a
smiluj se nade
mnou [Turn thee
unto me], 9
Pozdvihuji očí
svých k horám [I
will lift up mine
eyes], 10 Zpívejte
Hospodinu píseň
novou [O sing
unto the Lord a
new song]

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 194 126 — Ukolébavka 20 Dec 1895 Prague, pubd in vi/
[Lullaby] (F.L. 1896 Květy 4
Jelínek) mládeže, ii
(1896),
suppl.

204 137 — Zpěv z 5–6 Aug 1901 Berlin, 1911 op.posth., vi/
Lešetínského inc., rev. J. 2
kováře [Song Suk
from The
Blacksmith of
Lešetín] (S. Čech)

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Arrangements

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 B Title Arranged Publication Remarks AD

601 Dvě irské písně [2 Irish 24 Oct — no.2 from the vii
Songs], male vv unacc: 1 1878 Irish song
Můj Konnor má tváře jak Contented
červená růže [Oh my am I (Noch
Connor], 2 Nuž zdobte se bonin shin
kvítím, at’y zaplane zář [Ho! doe), later
adorn yourself with flowers] known as
The Battle
Eve of the
Brigade

602 J. Brahms: Hungarian 29 Oct – 6 Berlin, 1881 vii

Dances nos.17–21, arr. orch Nov 1880

603 Ruské písně [Russian ?March Prague, 2nd voice vii

Songs], S, A, pf: 1 Povylétla 1883 1951 added and
holubice pode strání acc. rev. to
(Víletala golubina) [A dove songs in M.
flew away over the hillside], Bernard:
2 Čím jsem já tě rozhněvala Pyeseni
(Chem tebya ya gorchila?) ruskoga
[How have I angered you?], naroda (St
3 Mladá, pěkná krasavice Petersburg,
(Belolitsa, kruglolitsa) [A 1866)
young, pretty beauty], 4
Cožpak, můj holoubku (Akh,
chto zh tï, golubchik) [Ah,
my little dove], 5 Zkvétal,
zkvétal v máji květ (Tsveli,
tsveli tsvetikí) [The flower
was blooming, blooming in
May], 6 Jako mhou se tmí
(Akh, kak pal tuman) [It
grows dark as if through the
mist], 7 Ach, vy říčky šumivé
(Akh, rechenki, rechenki)
[Ah, you bubbling brooks], 8
Mladice ty krásná (Molodka,
molodaya) [You beautiful
young lady], 9 Po mátušce,
mocné Volze (Vniz po

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 matushke po Volge) [After
the powerful mother Volga],
10 Na políčku bříza tam
stála (Vo pole beryoza
stoyala) [A birch tree stood
there in the field], 11 Vyjdu
já si podle říčky (Vïydu ya na
rechenku) [I’ll set out along
the brook], 12 Na tom našem
náměstí (Kak u nas na ulitse)
[In that square of ours], 13
Já si zasil bez orání (Ya
noseyal konopelku) [I sowed
without ploughing], 14 Oj, ty
luční kačko malá (Akh,
utushka lygovaya) [Oh you
little meadow duck], 15 V
poli zrají višně (Gey, u poli
vishnya) [The cherries are
ripening in the field], 16 Oj,
kráče havran černý (Oy,
kryache, chernenkiy voron)
[Ho, the black raven is
walking]

604 J. Lev: Ha, ta láska [Ah, that †?1880– — vii

love], 1v, orch 84

605 S. Foster: Old Folks at †?Dec — 1st perf. vii

Home, arr. S, B, chorus, orch 1893 – Jan New York, 23
1894 Jan 1894

606 Vysoká polka, arr. pf 11 June — vii

1902

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Bibliography

A: Catalogues
O. Šourek: Dvořák’s Werke: ein vollständiges Verzeichnis (Berlin, 1917)

J. Burghauser: Antonín Dvořák: Thematický katalog, bibliografie přehled života a díla [Thematic
catalogue, bibliography, survey of life and work] (Prague, 1960, enlarged 2/1996, addl
bibliography with J. Clapham)

B: Source material
P. Pry: ‘Enthusiasts Interviewed, 7: “Pann” Antonín Dvořák’, Sunday Times (London, 10 May
1885)

‘From Butcher to Baton: an Interview with Herr Dvořák’, Pall Mall Gazette (13 Oct 1886)

A. Dvořák: ‘The Real Value of Negro Melodies’, New York Herald (21 May 1893)

A. Dvořák: ‘Franz Schubert’, Century Magazine, 48 (1894), 341–6; repr. in J. Clapham: Antonín
Dvořák, Musician and Craftsman (London, 1966), 296–305

A. Dvořák: ‘Music in America’, Harper’s New Monthly Magazine, 90 (1895), 428–34; repr. in J.C.
Tibbetts, ed.: Dvořák in America, 1892–1895 (Portland, OR, 1993)

‘Bei Meister Dvorzak’, Die Reichswehr [Vienna] (1 March 1904); Eng. trans. in Zprávy
společnosti Antonína Dvořáka [Reports of the Antonín Dvořák Society], iv (Prague, 1984), 35–8

W. Altmann: ‘Antonín Dvořák im Verkehr mit seinem Verleger Fritz Simrock’, Die Musik, 10/4
(1910–11), 259–92, 346–53; rev. in Simrock Jb, ii (1929), 84–151

O. Šourek: Dvořák ve vzpomínkách a dopisech (Prague, 1938, 9/1951; Eng. trans., 1954/R, as
Antonín Dvořák: Letters and Reminiscences)

A. Hořejš: Antonín Dvořák: the Composer’s Life and Work in Pictures (Prague, 1955) [also pubd
in Cz., Ger. etc.]

J. Clapham: ‘Dvořák and the Philharmonic Society’, ML, 39 (1958), 123–34

J. Clapham: ‘Dvořák at Cambridge’, MMR, 89 (1959), 135–41

J. Clapham: ‘Dvořák’s Visit to Russia’, MQ, 51 (1965), 493–503

J. Clapham: ‘Dvořák’s Musical Directorship in New York’, ML, 48 (1967), 40–51

J. Clapham: ‘Dvořák’s Relations with Brahms and Hanslick’, MQ, 57 (1971), 241–54; Cz. trans.,
HV, x (1973), 213–24 [incl. orig. Ger. text of letters]

J. Burghauser: Commentary to Antonín Dvořák: IX Symfonie E moll Z nového světa, op.95

(Prague, 1972)

K. Honolka: Antonín Dvořák in Selbstzeugnissen und Bilddokumenten (Reinbek, 1974)

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J. Clapham: ‘Dvořák’s Unknown Letters on his Symphonic Poems’, ML, 56 (1975), 277–87; Ger.
trans., ÖMz, xxxi (1976), 645–58 [incl. orig. Ger. text of letters and facs.]

J. Clapham: ‘Dvořák’s First Contacts with England’, MT, 119 (1978), 758–61

J. Clapham: ‘Dvorak’s Musical Directorship in New York: a Postscript’, ML, 59 (1978), 19–27

M. Kuna and others, eds.: Antonín Dvořák: Korespondence a dokumenty [Correspondence and
documents], 1–4 (Prague, 1987–95), [letters sent], v–viii (Prague, 1996–), [letters received]

J.H. Yoell: Antonín Dvořák on Records (New York, 1991)

M. Kuna: ‘Umělecka stipendia Antonína Dvořáka’, [The artistic scholarship of Antonín Dvořák],
HV, 29 (1992), 293–315

M. Kuna: ‘Čestný doktorát Antonína Dvořáka na české univerzitě v Praze’, [Antonín Dvořák’s
honorary doctorate at the Czech University in Prague], HV, 30 (1993), 162–78

C: Memoirs
‘How Dr. Dvořák gives a Lesson’, New York Herald (14 Jan 1894) [mostly interview]; repr. in J.C.
Tibbets, ed.: Dvořák in America, 1892–1895 (Portland, OR, 1993), 364–5

J. Michl: ‘Rok u Dvořáka’ [A year with Dvořák], HR, 6 (1912–13), 169–80

J. Michl: ‘Vzpomínky na Antonína Dvořáka’ [Reminiscences of Dvořák], HR, 10 (1916–17), 293–

302

J.M. Thurber: ‘Dvořák as I knew him’, The Etude, 37 (1919), 693–4; repr. in J.C. Tibbets, ed.:
Dvořák in America, 1892–1895 (Portland, OR, 1993), 380ff

H.G. Kinscella: ‘Dvořák and Spillville, Forty Years After’, Musical America, 53/10 (1933), 4, 49

J. Bachtik: Antonín Dvořák dirigent (Prague, 1940)

K. Leitner: ‘Antonín Dvořák jak učil’ [How Dvořák taught], New-yorské listy (7 Sept 1941); pubd
separately (New York, 1943)

P.J. Polansky, ed.: Otakar Dvořák: Antonín Dvořák, My Father (Spillville, IA, 1993)

D: Biographical and critical studies

E. Hanslick: ‘Anton Dvorak’, Neue freie Presse (23 Nov 1879); repr. in Hanslick: Concerte,
Componisten und Virtuosen (Berlin, 1886, 4/1896/R); Eng. trans. Musical Review, (11 Dec 1879)
Dwight’s Journal of Music, xl (1880), 2; Musical Standard, new ser., xviii (1880), 58

E. Ehlert: ‘Anton Dvořák’, Westermanns illustrierte deutsche Monatshefte, 48 (1880), 232–8

H. Krigar: Anton Dvořák: eine biographische Skizze (Leipzig, 1880/R1992 with commentary by J.
Burghauser)

J. Bennett: ‘The Music of Anton Dvořák’, MT, 22 (1881), 165–9, 236–9

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J. Zubatý: Anton Dvořák: eine biographische Skizze (Leipzig, 1886)

S. Taylor: ‘Dvořák’, Cambridge Review, 12 (1890–91), 381–2

W.H. Hadow: ‘Antonín Dvořák’, Studies in Modern Music, 2 (London, 1895, many later edns incl.
1926/R), 171–225

F.J. Sawyer: ‘The Tendencies of Modern Harmony as Exemplified in the Works of Dvořák and
Grieg’, PMA, 22 (1895–6), 53–88

H.E. Krehbiel: ‘Anton Dvořák’, Looker-On, 3 (1896), 261–71

‘Dvořákův sborník’ [Dvořák memorial volume], HR, 4 (1910–11), 409–96 [28 articles by Šoureck
and others, incl. L. Janáček: ‘Za Antonínem Dvořákem’, ed. B. Štědroň, in Musikologie, v (1958),
353–4]

Antonín Dvořák sborník: statí o jeho díla a životě [Dvořák memorial volume: essays on his work
and life] (Prague, 1912)

O. Šourek: Život a dílo Antonína Dvořáka [Life and work of Dvořák] (Prague, 1916–33; i–ii,
3/1954–5; iii–iv, 2/1956–7)

K. Hoffmeister: Antonín Dvořák (Prague, 1924; Eng. trans., 1928/R)

O. Šourek: Antonín Dvořák (Prague, 1929, 3/1947; Eng. trans., 1952)

O. Šourek and P. Stefan: Dvořák: Leben und Werk (Vienna, 1935; Eng. trans., 1941/R as Anton
Dvořák)

V. Fischl, ed.: Antonín Dvořák: his Achievement (London, 1943)

J.M. Květ: Mládí Antonína Dvořáka [The youth of Dvořák] (Prague, 1943, 3/1944)

A. Robertson: Dvořák (London, 1945, 2/1964)

R. Smetana: O místo a význam Dvořákova skladatelského díla v českém hudebním vývoji [The
place and meaning of Dvořák’s compositions in the development of Czech music] (Prague, 1956)

A. Hetschko: Antonín Dvořák (Leipzig, 1965)

J. Burghauser: Antonín Dvořák (Prague, 1966; Eng. trans., 1967)

J. Clapham: Antonín Dvořák, Musician and Craftsman (London, 1966)

J. Clapham: ‘Dvořák and the American Indian’,MT, 107 (1966), 863–7

J. Berkovec: Antonín Dvořák (Prague, 1969)

Z. Sádecký: ‘Dvořákova tónina dur a moll: oblast diatonický I’ [Dvořák’s major and minor keys:
diatonic], HV, 8 (1971), 152–64, 318–42

R. Gerlach: ‘War Schönberg von Dvořák beeinflusst? Zu Arnold Schönbergs Streichquartett D–

Dur’, NZM, Jg.133 (1972), 122–7

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J. Bajer, ed.: Česká hudba světu, svet česke hudbě (Prague, 1974) [incl. M. Černý: K periodizaci
tvorby Antonína Dvořáka [The periodization of Dvořák’s works], 87–104

V. Jegorovová: ‘O některých společných rysech Dvořákova a Cajkovskéno symfonismu’, [Some

common traits in the symphonic style of Dvořák and Tchaikovsky], 105–18

J. Clapham: ‘Dvořáks Aufstieg zum Komponisten von internationalen Rang: einige neue
Entdeckungen’, MF, 30 (1977), 47–55

M. Kuna: ‘Antonín Dvořák a Rusko’, HRo, 30 (1977), 386–92

J. Clapham: ‘The Dissemination Abroad of Czech Music Towards the End of the 19th Century: its
Extent and its Limitations’, Hudba slovanských národů a její vliv na evropskou hudební kulturu:
Brno 1978, 119–25

J. Clapham: Dvořák (Newton Abbot, 1979)

N. Butterworth: Dvořák: his Life and Times (Tunbridge Wells,, 1980)

J. Vysloužil: ‘Anton Bruckner und Antonín Dvořák?’, Bruckner Jb 1981, 106–13

J. Clapham: ‘Dvořák on the American Scene’, 19CM, 5 (1981–2), 16–23

U. Kurth: Aus der Neuen Welt: Untersuchungen zur Rezeption afro-amerikanischer Musik in
europäischer Kunstmusik des 19. und frühen 20. Jahrhunderts (Göppingen, 1982)

J. Clapham: ‘New Dvořák Discoveries’, HRo, 36 (1983), 138–45

J. Volek: ‘Harmonické “lahůdky” Antonína Dvořáka’, [Harmonic ‘tit-bits’ of Antonín Dvořák], OM,
15 (1983), 71–9

T. Hirsbrunner: ‘Mensch und Natur bei Dvořák: Komponist zwischen Romantik und
Impressionismus’, Universitas, 39 (1984) 423–8

P. Petersen: ‘Brahams und Dvořák’, HJbMw, 7 (1984), 125–46

H.H. Schönzeler: Dvořák (London and New York, 1984)

J. Volek: ‘Tektonické ambivalence v symfoniích Antonína Dvořáka’, [Structrual ambivalence in

the symphonies of Antonín Dvořák], HV, 21 (1984), 2–29

J. Burghauser: Antonín Dvořák (Prague, 1985)

R. Pečman, ed.: Dvořák, Janáček and their Time (Brno, 1985)

J. Musil: ‘Neznámé rodové vztahy Antonína Dvořáka’, [Unknown family relationships of Antonín
Dvořák], HV, 23 (1986), 217–37

M. Beckerman: ‘In Search of Czechness in Music’, 19CM, 10 (1986–7), 61–73

K. Döge: ‘Ein Komponist ohne Problembewusstsein? Bausteine zu einem differenzierteren

Dvořák-Bild‘, NZM,Jg, 149/9 (1988), 5–10

J. Tyrrell: Czech Opera (Cambridge, 1988)

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J. Liebscher: ‘Dvořák und München: ein Beitrag zur Rezeption der tschechischen Nationaloper
in Deutschland’, Musik in Bayern, 34 (1989), 41–60

J. Vysloužil: ‘Antonín Dvořák und Richard Wagner’, Bayreuther Festspiele: Programmheft II

(1989), 21–37

J. Clapham: ‘Some Reflections on how Dvořák’s Music was First Received Abroad’, Czech Music,
16/2 (1989–90), 30–38

J. Musil: ‘Glosy o předcich Antonína Dvořáka’ [Comments about the ancestors of Antonín
Dvořák], HV, 27 (1990), 32–8

Die Instrumentalmusik (Struktur – Funktion – Ästhetik): Brno XXVI 1991 [incl. M.K. Černý:
‘Antonín Dvořáks Beitrag zur Entwicklung und Wandlung der Sonatenform’, 145–9; V. Jegorova:
‘Zur Anlage der Sonatensatzformen in Dvořák’s Symphonien: Tradition und ihre Erneuerung’,
151–60; A. Brandeis: ‘Antonín Dvořák und Wien’, 165–9]

J. Burghauser: ‘Dvořáka a Janáčkova dumka’ [The dumka in the music of Dvořák and Janáček],
HRo, 44 (1991), 86–9

J. Clapham: ‘Zapomenuty Dvořákuv triumf’ [Dvořák’s forgotten triumph], HRo, 44 (1991), 386–8

K. Döge: Antonín Dvořák: Leben-Werke-Dokumente (Mainz, 1991), enlarged 2/1997

K. Döge: ‘Dvořák a Německo [Dvořák and Germany], HV, 28 (1991), 46–56

O. Specinger: ‘Antonín Dvořák a Nelahozeves’, OM, 23 (1991), 262–8

S. Wollenberg: ‘Celebrating Dvořák: Affinities between Schubert and Dvořák’, MT, 132 (1991),
434–7

J. Burghauser: ‘Dvořák and Smetana: Some Thoughts on Sources, Influences and Relationships’,
Czech Music, 17/1 (1991–2), 16–24

G. Melville-Mason: ‘Dvořák and Elgar’, Czech Music, 17/1 (1991–2), 30–38

G. Melville-Mason: ‘Sir Thomas Beecham and Antonín Dvořák’, Czech Music, 17/2 (1991–2), 44–
8

R. Pečman: Utok na Antonín Dvořák [The attack on Antonín Dvořák] (Brno, 1992)

M. Beckerman: ‘Henry Krehbiel, Antonín Dvořák, and the Symphony “From the New World”’,
Notes, 49 (1992–3), 447–73

M. Beckerman ed.: Dvořák and his World (Princeton, NJ, 1993)

J.J. Loven: Dvořák in Spillville: 100 days, 100 years ago 1893–1993 (Spillville, IA, 1993)

J.C. Tibbetts, ed.: Dvořák in America 1892–1895 (Portland, OR, 1993)

J. Burghauser: ‘Concerning one of the Myths about Dvořák: Dvořák and the Apprentice Butcher’,
Czech Music, 18/1 (1993–4), 17–24

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Czech Music, 18/2 (1993–4) [incl. J. Burghauser: ‘The Beginnings of Dvořák’s Musical
Education’, 32–52; P. Alexander: ‘Tracking the Wrong Indians’, 52–63; H. Klevar and P. Polansky:
‘The Dvořák Myths in Spillville’, 64–72; M. Beckerman: ‘On the Real Value of Yellow Journalism:
James Creelman and Antonín Dvořák’, 83–100; J. Clapham and G. Melville-Mason: ‘Dvořák in a
New Role: Dvořák and the Economic Depression of 1893’, 100—26

K. Döge and P. Jost, eds.: Dvořák-Studien (Mainz, 1994)

M. Negrey: ‘Chopin i Dvořák: próba paraleli’ [Chopin and Dvořák: some parallels], Muzyka,
słowoo, sens: Mieczystawowi Tomaszewskiemu w 70 rocznicę urodzin, ed. A. Obers (Kraków,
1994), 47–54

M. Pospíšil and M. Ottlová, eds.: Antonín Dvořák 1841–1991 (Prague, 1994)

J. Slavíková: Dvořák a Anglie [Dvořák and England] (Prague, 1994)

D. Beveridge: ‘Nové poznatky o mládí Antonína Dvořáka’ [New findings about Dvořák’s youth],
HV, 32 (1995), 389–414

A. Houtchens: ‘Dvořák and Janáček: New Insights into an old Friendship’, Janáček and Czech
Music, ed. M. Beckerman (St Louis, 1995), 255–62

J. Smaczny: ‘Dvořák and Harmonic Experiment’, Czech Music, 19 (1995–6), 30–43

D. Beveridge, ed.: Rethinking Dvořák: Views from Five Countries (Oxford, 1996)

J. Musil: ‘Archivní nálezy k Františku Dvořákovi, otci skladatele Antonína Dvořáka’, [Archive
discoveries of František Dvořák, the father of the composer Antonín Dvořák], HV, 33 (1996),
286–9

J. Gabrìelová, ed.: Antonín Dvořák a současníci [Antonín Dvořák and contemporaries] (Příbram,
1998)

E: Specific works
L. Janáĉek: ‘České proudy hudební’ [Czech musical currents], Hlídka, 2 (1897), 285–92 454–9,
594–600; iii (1898), 277–82; ed. B. Štědroň in Musikologie, v (1958), 342–52 [analyses of The
Water Goblin, The Noon Witch, The Golden Spinning-Wheel and The Wild Dove]

O. Šourek: Dvořákovy symfonie (Prague, 1922, 3/1948; Eng. trans., 1952/R, in The Orchestral
Works of Antonín Dvořák)

D. Tovey: Essays in Musical Analysis (London, 1935–9/R, abridged 2/1981)

O. Šourek: Dvořákovy skladby komorni [The chamber music of Dvořák] (Prague, 1943, 2/1949;
Eng. trans., abridged, 1956/R)

O. Šourek: Dvořákovy skladby orchestralní [The orchestral works of Dvořák] (Prague, 1944–6;
Eng. trans., abridged, 1956/R)

M. Očadlík: ‘Antoniín Dvořák’, Svět orchestru [The world of the orchestra], 2 (Prague, 1946,
3/1961), 243–335

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H. Kull: Dvořáks Kammermusik (Berne, 1948)

J. Clapham: ‘The Evolution of Dvořák’s Symphony “From the New World”’, MQ, 44 (1958), 167–
83

J. Burghauser: Orchestrace Dvořákovy’ch Slovanských tanců [The orchestration of Dvořák’s

Slavonic dances] (Prague, 1959)

M. Černý: ‘Smyčcový kvartet D dur Antonína Dvořáka’ [Dvořák’s String Quartet in D major],
Živá hudba, 1 (1959), 109–58

J. Clapham: ‘Blick in die Werkstatt eines Komponisten: die beiden Fassungen von Dvořák
Klaviertrio f-moll’, Musica, 13 (1959), 629–34

A. Sychra: Estetika Dvořákovy symfonické tvorby [The aesthetics of Dvořák’s symphonic works]
(Prague, 1959; Ger. trans., 1973)

J. Clapham: ‘Dvořák’s Symphony in D minor : the Creative Process’, ML, 42 (1961), 103–16

J. Clapham: ‘The National Origins of Dvořák’s Art’, PRMA, 89 (1962–3), 75–88

J. Harrison: ‘Antonin Dvořák’, The Symphony, ed. R. Simpson 1 (Harmondsworth, 1966, 2/1972)

J. Zich: ‘Instrumentace dechové serenády Antonína Dvořáka’ [The instrumentation of Dvořák’s

wind serenade], Živá hudba, 4 (1968), 65–72

M. Černý: ‘Zum Wort-Ton-Problem im Vokalwerk Antonín Dvořák’s’, Music and Word: Brno IV
1969, 139–57

J. Clapham: ‘Indian Influence on Dvořák’s American Chamber Music’, Musica cameralis: Brno VI
1971, 174–56 [music exx., 525]

D. Beveridge: ‘Sophisticated Primitivism: the Significance of Pentatonicism in Dvořák’s

American Quartet’, CMc, no.24 (1977), 25–36

J. Smaczny: ‘Armida: Dvořák’s WrongTurning?’, Zpráva [London], 3/5 (1977), 10–14

R. Layton: Dvořák Symphonies and Concertos (London, 1978)

J. Clapham: ‘Dvořák’s Cello Concerto, a Masterpiece in the Making’, MR, 40 (1979), 123–40

N. Jers: ‘“Dvořák, der Progressive”: entwickelnde Variation in der 9. Symphonie’, Musica, 33

(1979), 258–62

M. Kuna: ‘Dvořák’s, “Dimitrij”: its History’, MT, 120 (1979), 23–24

M. Pospíšil: ‘Dvořák’s, “Dimitrij”: its music’, MT, 120 (1979), 24–5

D. Beveridge: Romantic Ideas in a Classical Frame: the Sonataforms of Dvořák (diss., U. of

California, Berkeley, 1980)

J. Schläder: ‘Märchenoper oder symbolistisches Musikdrama? Zum Interpretationsrahmen der

Titelrolle in Dvořáks “Rusalka”’, Mf, 34 (1981, 25–39

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K. Stöckl and K. Döge: Antonín Dvořák, Sinfonie Nr.9 e-moll, op.95 ‘Aus der Neuen Welt’:
Einführung und Analyse (Mainz, 1982)

D. Beveridge: ‘Dvořák’s Piano Quintet, op.81 : the Schumann Connection’, Chamber Music
Quartetly (1984), spr., 2–10

K.-H. Stahmer: ‘Drei Klavierquartettre aus den Jahren 1875/76: Brahms, Mahler und Dvořák im
Vergleich’, HJbMw, 7 (1984), 113–23

M. Pospíšil: ‘Dvořáks “Dimitrij” als Editionsproblem’, JbO, 2 (1986), 87–108

A. Houtchens: A Critical Study of Antonín Dvořák’s ‘Vanda’ (diss., U. of California, Santa

Barbara, 1987)

I. Vojtěch: ‘Vertonte Sprache in der geistigen Tradition der Tschechischen Musik: A Dvořák,
Biblische Lieder op.99, Nr.4, “Hospodin jest můj pastýr”’, Das musikalische Kunstwerk:
Festschrift Carl Dahlhaus, ed. H. Danuser and others (Laaber, 1988), 579–88

D. Beveridge: ‘Echoes of Dvořák in the Third Symphony of Brahms’, Musik des Ostens, 12
(1989), 221–30

M. Hallová, Z. Petrášková and J. Tauerová-Veverková, eds.: Musical Dramatic Works by Antonín

Dvořák (Prague, 1989)

C.N. Kirkendall: Techniques of Choral and Orchestral Writing in the ‘Te Deum’ Settings of
Berlioz, Bizet, Bruckner, Dvořák and Verdi (diss., U. of Cincinnati, 1989)

J. Smaczny: A Study of the First Six Operas of Antonín Dvořák: the Foundations of an Operatic
Style (diss., U. of Oxford, 1989)

H. Schick: Studien zu Dvořáks Streichquartetten (Laaber, 1990)

J. Smaczny: ‘“Alfred”: Dvořák’s Operatic Endeavour Surveyed’, JRMA, 115 (1990), 80–106

J. Gabrielová: ‘Antonín Dvořák und Johannes Brahms: Bemerkungen zur

Kompositionsproblematik der Symphonie Nr.6 D-Dur, op.60’, Die Instrumentalmusik (Struktur-
Funktion-Ästhetik): Brno XXVI 1991, 157–64, JRMA, 115 (1990), 80–106

J. Gabrielová: Rané tvůrčí období Antonína Dvořáka: studie ke kompoziční problematice

vybraných instrumentálních děl [The early creative period of Antonín Dvořák: an essay on
problems of composition in selected instrumental works] (Prague, 1991)

R.M. Longyear: ‘Motivic Unity and Harmonic Variety in Dvořák’s Requiem’, In Theory Only,
12/5–6 (1991–2), 51–64

J. Burghauser: ‘Dvořákuv návrh americké hymny’, [Dvořák’s American anthem project], HRo, 45
(1992), 131–4

M. Beckerman: ‘Dvořák’s “New World” Largo and The Song of Hiawatha’, 19CM, 16 (1992–3),
35–48

D. Beveridge: ‘Dvořák’s “Dumka” and the Concept of Nationalism in Music Histiography’, JMR,
12 (1992–3), 303–25

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J. Gabrielová: ‘Österreichische und böhmische Symphonik: ein Widerspruch? Die frühen
Symphonien von Antonín Dvořák im Kontext der österreichischen Symphonik im zweiten Drittel
des 19. Jahrhunderts’, Entwicklungen, Parallelen, Kontraste: zur Frage einer ‘österreichischen
Symphonik’: Linz 1993, 99–110

J.-H. Koo: A Study of Four Representative Piano Quintets by Major Composers of the Nineteenth
Century: Schumann, Brahms, Dvořák, Franck (diss., U. of Cincinnati, 1993)

L. Linnenbrügger: ‘Antonín Dvořáks Sinfonische Dichtung “Die Waldtaube” op.100:

Untersuchungen zur musikalischen Realisation der literarischen Vorlage und zur motivisch-
Thematischen Arbeit’, Neues Musikwissenschaftliches Jb, 2 (1993), 113–44

S.R. Pelkey: Antonín Dvořák’s First Cello Concerto in A-major: a Comparison of the Original,
Raphael and Sádlo/Burghauser Editions (diss., U. of Houston, 1993)

D. Philippi: Antonín Dvořák: Die Geisterbraut/Svatební košile op.69 und Die heilige Ludmilla/
Svatá Ludmila op.71 (Tutzing, 1993)

A. Houtchens: ‘Libuše and Vanda: Legendary and Operatic Sisters’, Czech Music, 18/1 (1993–4),
63–72

H. Schick: ‘What’s American about Dvořák’s “American” Quartet and Quintet’, Czech Music,
18/2 (1993–4), 72–83

J. Brabcová and J. Burghauser, eds.: Antonín Dvořák, Dramatik [Antonín Dvořák, the dramatist]
(Prague, 1994)

D. Beveridge: ‘Romantic and Twentieth-Century Styles in the 1870s: Music for String Orchestra
by Dvořák and Janáček’, in: M. Beckerman, ed.: Janáček and Czech Music, ed. M. Beckerman (St
Louis, 1995), 263–71

D. Philippi: ‘Dvořák’s Suite Op.98 and Humoresques Op.101 for Pianoforte: American or
Bohemian?’, Czech Music, 19, (1995–6), 43–58

Y. You: A Historical Overview and Analysis of the Cello Concerto in B minor, op.104 by Antonín
Dvořák (diss., U. of Cincinnati, 1996)

J. Smaczny: Dvořák: Cello Concerto (Cambridge, 1999)

See also

USA, §I, 2: 19th century art music

Brahms, Johannes, §4: At the summit

Nationalism, §11: Colonialist nationalism

Dumka

Impromptu

Czech Republic, §I, 1(iii): Art music: Bohemia and Moravia: Growth of Czech nationalism

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Prague, §3: 1830–1918

Roman Catholic church music, §V, 3: The 19th century: France

Symphonic poem, §4: The Czech lands

Symphony, §II, 6: 19th century: Other countries, 1840–1900

See also from The New Grove Dictionary of Opera: Antonín Dvořák; Alfred; Armida; Cunning
Peasant, The; Devil and Kate, The; Dimitrij; Jacobin, The; King and Charcoal Burner; Rusalka;
Stubborn Lovers, The; and Vanda

More on this topic

Dvořák, Antonín (1841-1904), composer <http://anb.org/view/10.1093/anb/
9780198606697.001.0001/anb-9780198606697-e-1802135> in American National Biography
Online <http://anb.org>

Dvořák, Antonín (USA) <http://oxfordmusiconline.com/grovemusic/view/10.1093/gmo/

9781561592630.001.0001/omo-9781561592630-e-1002257504> in Oxford Music Online <http://
oxfordmusiconline.com>

Dvořák, Antonín (opera) <http://oxfordmusiconline.com/grovemusic/view/10.1093/gmo/

9781561592630.001.0001/omo-9781561592630-e-5000008450> in Oxford Music Online <http://
oxfordmusiconline.com>

Dvořák, Antonín Leopold (1841–1904), composer and conductor <http://oxforddnb.com/view/

10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-52433> in Oxford
Dictionary of National Biography <http://oxforddnb.com>

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