Antonín Leopold Dvořák (1841–1904) was a Czech composer of romantic music, … Read Full Bio ↴Antonín Leopold Dvořák (1841–1904) was a Czech composer of romantic music, who employed the idioms and melodies of the folk music of Moravia and his native Bohemia. His works include operas, symphonic, choral and chamber music. His best-known works include his symphonic works (above all "New World Symphony"), Slavonic Dances, String Quartets, Concertos for cello (Concerto in B minor) and violin, oratorial compositions Requiem, Stabat Mater and Te Deum.
Dvořák was born on 8th September 1841 in Nelahozeves, Czechia, near Prague, where he spent most of his life. He studied music in Prague's only Organ School at the end of the 1850s, and slowly developed himself as an accomplished violinist and violist. Throughout the 1860s he played viola in the Bohemian Provisional Theater Orchestra, which was from 1866 conducted by Bedřich Smetana. The need to supplement his income by teaching left Dvořák with limited free time, and in 1871 he gave up the orchestra in order to compose. He fell in love with one of his pupils and wrote a song cycle, Cypress Trees, expressing his anguish at her marriage to another man. However, he soon overcame his despondency, and in 1873 married her sister, Anna Čermáková.
In 1891 he wrote the famous Requiem Mass, similarly as Stabat Mater and Te Deum his major sacred work. Composition is a reflection of generally alarming questions of human being. The opus shows much of the tonal colour, original instrumentation, impressiveness and purity of composer´s mature work.
From 1892 to 1895, Dvořák was the director of the National Conservatory of Music in New York City. The Conservatory was founded by a wealthy socialite, Jeannette Thurber, who wanted a well-known composer as director in order to lend prestige to her institution. She wrote to Dvořák asking him to accept the position, and he agreed, providing that she were willing to meet his conditions: talented native American and black students, who could not afford the tuition, had to be admitted for free. She agreed to his conditions, and he sailed to America.
It was during this time as director of the Conservatory that Dvořák formed a friendship with Harry Burleigh, an African-American, who became an important composer. Dvořák taught Burleigh composition, and in return, Burleigh spent hours on end singing traditional Negro spirituals to Dvořák. Burleigh went on to compose settings of these spirituals.
In the winter and spring of 1893, while in New York, he wrote his most popular work, his ninth symphony "From the New World". Following an invitation from his family, he spent the summer of 1893 in the Czech-speaking community of Spillville, Iowa. While there he composed two of his most famous chamber works, the string quartet in F major ("The American"), and the string quintet in E flat major.
Also while in the United States he heard a performance of a cello concerto by the composer Victor Herbert. He was so excited by the possibilities of the cello and orchestra combination displayed in this concerto that he wrote a concerto of his own, the cello concerto in B minor (1895). Since then the concerto, considered one of the greatest of the genre, has grown in popularity and is frequently performed today. He also left an unfinished work, the cello concerto in A major (1865), which was completed and orchestrated by the German composer Günter Raphael between 1925 and 1929, and by Jarmil Burghauser in 1952.
He eventually returned to Prague where he was director of the conservatory from 1901 until his death on 1st May 1904. At the end of his life, Dvořák was in serious financial straits, as he had sold his many compositions for so little he had hardly anything to live on. He is buried in the Vyšehrad cemetery in Prague.
Dvořák was born on 8th September 1841 in Nelahozeves, Czechia, near Prague, where he spent most of his life. He studied music in Prague's only Organ School at the end of the 1850s, and slowly developed himself as an accomplished violinist and violist. Throughout the 1860s he played viola in the Bohemian Provisional Theater Orchestra, which was from 1866 conducted by Bedřich Smetana. The need to supplement his income by teaching left Dvořák with limited free time, and in 1871 he gave up the orchestra in order to compose. He fell in love with one of his pupils and wrote a song cycle, Cypress Trees, expressing his anguish at her marriage to another man. However, he soon overcame his despondency, and in 1873 married her sister, Anna Čermáková.
In 1891 he wrote the famous Requiem Mass, similarly as Stabat Mater and Te Deum his major sacred work. Composition is a reflection of generally alarming questions of human being. The opus shows much of the tonal colour, original instrumentation, impressiveness and purity of composer´s mature work.
From 1892 to 1895, Dvořák was the director of the National Conservatory of Music in New York City. The Conservatory was founded by a wealthy socialite, Jeannette Thurber, who wanted a well-known composer as director in order to lend prestige to her institution. She wrote to Dvořák asking him to accept the position, and he agreed, providing that she were willing to meet his conditions: talented native American and black students, who could not afford the tuition, had to be admitted for free. She agreed to his conditions, and he sailed to America.
It was during this time as director of the Conservatory that Dvořák formed a friendship with Harry Burleigh, an African-American, who became an important composer. Dvořák taught Burleigh composition, and in return, Burleigh spent hours on end singing traditional Negro spirituals to Dvořák. Burleigh went on to compose settings of these spirituals.
In the winter and spring of 1893, while in New York, he wrote his most popular work, his ninth symphony "From the New World". Following an invitation from his family, he spent the summer of 1893 in the Czech-speaking community of Spillville, Iowa. While there he composed two of his most famous chamber works, the string quartet in F major ("The American"), and the string quintet in E flat major.
Also while in the United States he heard a performance of a cello concerto by the composer Victor Herbert. He was so excited by the possibilities of the cello and orchestra combination displayed in this concerto that he wrote a concerto of his own, the cello concerto in B minor (1895). Since then the concerto, considered one of the greatest of the genre, has grown in popularity and is frequently performed today. He also left an unfinished work, the cello concerto in A major (1865), which was completed and orchestrated by the German composer Günter Raphael between 1925 and 1929, and by Jarmil Burghauser in 1952.
He eventually returned to Prague where he was director of the conservatory from 1901 until his death on 1st May 1904. At the end of his life, Dvořák was in serious financial straits, as he had sold his many compositions for so little he had hardly anything to live on. He is buried in the Vyšehrad cemetery in Prague.
Slavonic Dance
Antonín Dvořák Lyrics
We have lyrics for these tracks by Antonín Dvořák:
Song to the Moon Mesiku na nebi hlubokem Svetlo tve daleko vidi, Po svete blo…
X.Quando corpus morietur Quando corpus morietur, Fac, ut animae donetur paradisi glor…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Classical Music/ /Reference Recording
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Antonín Dvořák (1841-1904) - Orchestral Works.
Click to activate the English subtitles for the presentation (00:00-02:35)
*
Slavonic Dance In C, Op. 46_1, _Furiant (00:00)
Slavonic Dance In E Minor, Op. 46_2, _Dumka (03:45)
Slavonic Dance In A Flat, Op. 46_3, _Polka (08:41)
Slavonic Dance In F, Op. 46_4, _Sousedská (13:36)
Slavonic Dance In A, Op. 46_5, _Skočná (21:07)
Slavonic Dance In D, Op. 46_6, _Sousedská (24:28)
Slavonic Dance In C Minor, Op. 46_7, _Skočná (28:40)
Slavonic Dance In G Minor, Op. 46_8, _Furiant (32:02)
*
Slavonic Dance In B, Op. 72_1, _Odzemekb (36:07)
Slavonic Dance In E Minor, Op. 72_2, _Starodávny (40:03)
Slavonic Dance In F, Op. 72_3, _Skočná (45:34)
Slavonic Dance In D Flat, Op. 72_4, _Dumka (48:48)
Slavonic Dance In B Flat Minor, Op. 72_5, _Špacírka (54:06)
Slavonic Dance In B Flat, Op. 72_6, _Starodávný (56:15)
Slavonic Dance In C, Op. 72_7, _Kolo (1:00:05)
Slavonic Dance In A Flat, Op. 72_8, _Sousedská (1:03:34)
*
Czech Suite, Op. 39 - 1. Preludium_ Pastorale (1:10:13)
Czech Suite, Op. 39 - 2. Polka (1:13:27)
Czech Suite, Op. 39 - 3. Sousedská - Minuetto (1:18:58)
Czech Suite, Op. 39 - 4. Romance (1:23:23)
Czech Suite, Op. 39 - 5. Finale_ Furiant (1:28:43)
**
American Suite, Op. 98B - 1. Andante Con Moto (1:33:44)
American Suite, Op. 98B - 2. Allegro (1:38:42)
American Suite, Op. 98B - 3. Moderato - Alla Polacca (1:42:49)
American Suite, Op. 98B - 4. Andante (1:47:24)
American Suite, Op. 98B - 5. Allegro (1:51:01)
**
Prague Waltzes, B 99 (1:54:05)
Nocturne, Op. 40 (2:03:05)
Slavonic Rhapsody #3 (2:10:41)
*Royal Philharmonic Orchestra
**Détroit Symphonic Orchestra
Conductor : Antal Dorati
Recorded in 1980-83
Find CMRR's recordings on Spotify : https://spoti.fi/3016eVr
"Voici enfin un excellent et, qui plus est, un talent tout à fait naturel. Je considère les 'Danses slaves' comme une œuvre qui fera le tour du monde comme les Danses hongroises de Brahms" (Louis Ehlert en 1878 pour la Nationalzeitung de Berlin). Au début de 1879, des sélections de ces danses furent données lors de trois concerts à Hambourg, Nice, Berlin, Londres et Brunswick ; et à l'automne, il y eut des représentations à New York et Boston : la prophétie d'Ehlert se réalisait déjà et Dvorak avait atteint une reconnaissance internationale.
Simrock, constatant que les danses pour lesquelles il avait payé 300 marks allemands devenaient une véritable mine d'or, demanda à Dvorak, au début de 1880, d'écrire une autre série de ces pièces lucratives. À un moment donné, le compositeur a peut-être dit à son éditeur qu'il était prêt à le faire, mais pas tout de suite. Il n'avait pas l'intention de retarder le travail sur un certain nombre de projets qu'il avait en tête, et il ne voyait aucune raison de donner la priorité à une œuvre destinée à être avant tout à être une autre source de revenus pour Simrock.
1880-1885 Rien, s'impatientant, Simrock commence à harceler Dvorák pour les danses. Dvorák lui envoi cette réponse brutale : " Vous me pardonnerez, mais je n'ai tout simplement pas la moindre envie de penser à une musique aussi légère maintenant. Je dois vous informer que ce ne sera en aucun cas une affaire aussi simple que la première fois avec les "Danses slaves" ! Faire deux fois la même chose est sacrément difficile ! Tant que je ne suis pas d'humeur à le faire, je ne peux rien faire. C'est quelque chose qu'on ne peut pas forcer..."
Pendant l'été 1886, tout en profitant de la paix de sa retraite bien-aimée dans le pays de Vysoká, il écrivit dans une veine joyeuse à son éditeur : " Il n'y a pas beaucoup de temps pour composer, mais maintenant cela avance à grands pas. J'ai beaucoup de plaisir à faire les Danses slaves, et je suis sûr que celles-ci seront très différentes..."
Il n'est pas surprenant que Dvorak ait reconnu la différence entre ses deux séries de danses. Huit ans les séparaient, et pendant cet intervalle, il n'en avait fait qu'une, avec un nombre croissant de chefs-d'œuvre à son actif. Le premier ensemble nous attire par sa fraîcheur, sa gaieté simple, sa bonne humeur et sa mélancolie occasionnelle (00:00 ; 13:36), tandis que le second ensemble transmet des émotions plus profondes... (40:03 ; 1:03:34).
Dvořák - Symphonies Nos.7,8,9 "From The New World" (reference recording: Constantin Silvestri): https://www.youtube.com/watch?v=QTvY2L2dFdE&list=PL3UZpQL9LIxOmR1pAUFUL-0JK-EcbVFUG&index=3
Antonín Dvořák PLAYLIST (reference recordings) : https://www.youtube.com/watch?v=fmmUXLO40Ro&list=PL3UZpQL9LIxOmR1pAUFUL-0JK-EcbVFUG&index=2
Classical Music/ /Reference Recording
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) https://www.patreon.com/cmrr
Antonín Dvořák (1841-1904) - Orchestral Works.
Click to activate the English subtitles for the presentation (00:00-02:35)
*
Slavonic Dance In C, Op. 46_1, _Furiant (00:00)
Slavonic Dance In E Minor, Op. 46_2, _Dumka (03:45)
Slavonic Dance In A Flat, Op. 46_3, _Polka (08:41)
Slavonic Dance In F, Op. 46_4, _Sousedská (13:36)
Slavonic Dance In A, Op. 46_5, _Skočná (21:07)
Slavonic Dance In D, Op. 46_6, _Sousedská (24:28)
Slavonic Dance In C Minor, Op. 46_7, _Skočná (28:40)
Slavonic Dance In G Minor, Op. 46_8, _Furiant (32:02)
*
Slavonic Dance In B, Op. 72_1, _Odzemekb (36:07)
Slavonic Dance In E Minor, Op. 72_2, _Starodávny (40:03)
Slavonic Dance In F, Op. 72_3, _Skočná (45:34)
Slavonic Dance In D Flat, Op. 72_4, _Dumka (48:48)
Slavonic Dance In B Flat Minor, Op. 72_5, _Špacírka (54:06)
Slavonic Dance In B Flat, Op. 72_6, _Starodávný (56:15)
Slavonic Dance In C, Op. 72_7, _Kolo (1:00:05)
Slavonic Dance In A Flat, Op. 72_8, _Sousedská (1:03:34)
*
Czech Suite, Op. 39 - 1. Preludium_ Pastorale (1:10:13)
Czech Suite, Op. 39 - 2. Polka (1:13:27)
Czech Suite, Op. 39 - 3. Sousedská - Minuetto (1:18:58)
Czech Suite, Op. 39 - 4. Romance (1:23:23)
Czech Suite, Op. 39 - 5. Finale_ Furiant (1:28:43)
**
American Suite, Op. 98B - 1. Andante Con Moto (1:33:44)
American Suite, Op. 98B - 2. Allegro (1:38:42)
American Suite, Op. 98B - 3. Moderato - Alla Polacca (1:42:49)
American Suite, Op. 98B - 4. Andante (1:47:24)
American Suite, Op. 98B - 5. Allegro (1:51:01)
**
Prague Waltzes, B 99 (1:54:05)
Nocturne, Op. 40 (2:03:05)
Slavonic Rhapsody #3 (2:10:41)
*Royal Philharmonic Orchestra
**Détroit Symphonic Orchestra
Conductor : Antal Dorati
Recorded in 1980-83
Find CMRR's recordings on Spotify : https://spoti.fi/3016eVr
"Voici enfin un excellent et, qui plus est, un talent tout à fait naturel. Je considère les 'Danses slaves' comme une œuvre qui fera le tour du monde comme les Danses hongroises de Brahms" (Louis Ehlert en 1878 pour la Nationalzeitung de Berlin). Au début de 1879, des sélections de ces danses furent données lors de trois concerts à Hambourg, Nice, Berlin, Londres et Brunswick ; et à l'automne, il y eut des représentations à New York et Boston : la prophétie d'Ehlert se réalisait déjà et Dvorak avait atteint une reconnaissance internationale.
Simrock, constatant que les danses pour lesquelles il avait payé 300 marks allemands devenaient une véritable mine d'or, demanda à Dvorak, au début de 1880, d'écrire une autre série de ces pièces lucratives. À un moment donné, le compositeur a peut-être dit à son éditeur qu'il était prêt à le faire, mais pas tout de suite. Il n'avait pas l'intention de retarder le travail sur un certain nombre de projets qu'il avait en tête, et il ne voyait aucune raison de donner la priorité à une œuvre destinée à être avant tout à être une autre source de revenus pour Simrock.
1880-1885 Rien, s'impatientant, Simrock commence à harceler Dvorák pour les danses. Dvorák lui envoi cette réponse brutale : " Vous me pardonnerez, mais je n'ai tout simplement pas la moindre envie de penser à une musique aussi légère maintenant. Je dois vous informer que ce ne sera en aucun cas une affaire aussi simple que la première fois avec les "Danses slaves" ! Faire deux fois la même chose est sacrément difficile ! Tant que je ne suis pas d'humeur à le faire, je ne peux rien faire. C'est quelque chose qu'on ne peut pas forcer..."
Pendant l'été 1886, tout en profitant de la paix de sa retraite bien-aimée dans le pays de Vysoká, il écrivit dans une veine joyeuse à son éditeur : " Il n'y a pas beaucoup de temps pour composer, mais maintenant cela avance à grands pas. J'ai beaucoup de plaisir à faire les Danses slaves, et je suis sûr que celles-ci seront très différentes..."
Il n'est pas surprenant que Dvorak ait reconnu la différence entre ses deux séries de danses. Huit ans les séparaient, et pendant cet intervalle, il n'en avait fait qu'une, avec un nombre croissant de chefs-d'œuvre à son actif. Le premier ensemble nous attire par sa fraîcheur, sa gaieté simple, sa bonne humeur et sa mélancolie occasionnelle (00:00 ; 13:36), tandis que le second ensemble transmet des émotions plus profondes... (40:03 ; 1:03:34).
Dvořák - Symphonies Nos.7,8,9 "From The New World" (reference recording: Constantin Silvestri): https://www.youtube.com/watch?v=QTvY2L2dFdE&list=PL3UZpQL9LIxOmR1pAUFUL-0JK-EcbVFUG&index=3
Antonín Dvořák PLAYLIST (reference recordings) : https://www.youtube.com/watch?v=fmmUXLO40Ro&list=PL3UZpQL9LIxOmR1pAUFUL-0JK-EcbVFUG&index=2
Patricia Pupkin
Classical Music/ /Reference Recording g
raymondo
The comment, ostensibly made by " raymondo 1 year ago" was more or less my work but written TODAY. Moreover, the comment was made over another video. How and why it was transported to here is beyond me !
raymondo
Likewise the preceding comment contains material from another video. My entire comment, made seconds ago was: "The comment, ostensibly made by "raymondo 1 year ago" was more or less my work but written TODAY. Also, the comment was made over another video. How and why it was transported to here is beyond me!"
raymondo
Evidently, some technical problems have crept into YouTube comment section at the moment.
Dejan Stevanic
So uplifting. My Slavic soul dance with it.
Viktoria Bentham
Good to hear! It makes my Germanic Soul dance too! :D
pete1951 Peter
I love Dorati's interpretation of these gorgeous pieces as I hear them more often. I have always revered Talich's Czech Philharmonic vintage recording of the Slavonic Dances, but these are different in a very good way, and equally satisfying. The recorded sound here is excellent as well, thanks to the superior uploading quality by Reference Recording. What a great service to music lovers all over the world! Thank you, and great success for your future efforts!
Christina Speers
The speed is best with his interpretation I agree. And way more lyrical and expressive.
George Horn
This is beautiful beyond words! I get chills of excitement listening to this wonderful music!