• Name: Antonin Dvorák
• Birthday: 09/08/1841
• Birth Place: Nelahozeves, Bohemia
• Died: 05/01/1904
• Place of Death: Prague, Czech Republic
• Period: Post-Romantic
• Genre: Classical

Title	Release
Slavonic Dances 1 & 3	2004
Highlights	2001
(182) Carnival (Karneval), concert overture, B. 169 (Op. 92)
(299) Cello Concerto in B minor, B. 191 (Op. 104)
(108) Piano Quintet in A major, B. 155 (Op. 81) (once listed as Op. 77)	2005
(108) Piano Trio No. 4 in E minor ("Dumky"), B. 166 (Op. 90)	1980
(234) Rusalka, opera, B. 203 (Op. 114)
(315) Serenade for string orchestra in E major, B. 52 (Op. 22)
(71) Serenade for winds and strings in D minor, B. 77 (Op. 44)	2008
(113) Slavonic Dances (8) for orchestra, B. 83 (Op. 46)
(154) String Quartet No. 12 in F major ("American"), B. 179 (Op. 96)
(41) String Quartet No. 14 in A flat major, B. 193 (Op. 105)	1973
(136) Symphony No. 7 in D minor, B. 141 (Op. 70) (first published as No. 2)	1938
(237) Symphony No. 8 in G major, B. 163 (Op.88) (first published as No. 4)
(892) Symphony No. 9 in E minor ("From the New World"), B. 178 (Op. 95) (first published as No. 5)
(132) Violin Concerto in A minor, B. 96/B. 108 (Op. 53)
(32) Bagatelles (5) for 2 violins, cello & harmonium, B. 79 (Op. 47)	1989
Bouquet of Czech Folksongs (Kytice z ceskych národnich písní), for male chorus, B. 72 (Op. 41)	2005
Choral Songs (Sbotové písne) (3) for male chorus, B. 66	2005
(2) Choruses (Ctryi sbory) (4), for chorus, B. 59 (Op. 29)	2005
Irish Songs (Dve irské písne) (2) for male chorus (arr. from Irish traditional), B. 601	2005
Miraculous Water (Divná voda), song for male chorus (From a Bouquet of Slavonic Folksongs), B. 76/2 (Op. 43/2)	2005
Moravian Duets (Moravské dvojzpevy) (5) for female chorus (arr. from Moravian Duets, B. 60 & B. 62), B. 107	2005
Slavonic Dance No. 15 for piano, 4 hands in C major, B. 145/7 (Op. 72/7)	2005
Sorrow (Zal), song for male chorus (From a Bouquet of Slavonic Folksongs), B. 76/1 (Op. 43/1)	2005
The Girl in the Woods (Devce v háji), song for male chorus (From a Bouquet of Slavonic Folksongs), B. 76/3 (Op. 43/3)	2005
The Song of a Czech (Písen cecha), for male chorus, B. 73 (incomplete)	2005
(11) Gavotte for 3 violins in G major, B. 164	1992
(17) Miniatures (Drobnosti) (4) for 2 violins & viola, B. 149 (Op. 75a)	1992
(20) Sonata for violin & piano in F major, B. 106 (Op. 57) W	1995
(49) Symphony No. 5 in F major, B. 54 (Op. 76) (first published as No. 3)	1987
(14) Te Deum for soprano, bass, chorus & orchestra, B. 176 (Op. 103) (once listed as Opp. 93 & 98)	1990
(18) A Hero's Song (Písen bohatyrská), symphonic poem for orchestra, B. 199 (Op.111)	1986
(5) Album leaf (Lístek do památníku), for piano in E flat major, B. 158 WA	1997
(3) Album Leaf No. 1 for piano in G major, B. 109/1 (incomplete)	1999
(4) Album Leaf No. 2 for piano in F sharp minor, B. 109/2	1999
(3) Album Leaf No. 3 for piano in F major, B. 109/3	1999
(4) Album Leaf No. 4 for piano in G major, B. 109/4	1999
(3) Album leaves (Lístky do památníku) (4), for piano, B. 109	1997
(2) All round about the woods are still (Rings ist der Wald...), song for voice & piano (Gypsy Melodies), B. 104/3 (Op. 55/3) WA	2007
All you with burdens (Vy vsichni, kdo jste stísneni) song for voice & piano (Evening Songs), B. 61/10 (Op. 31/4)	1975
(12) Andante Appasionato, for string quartet in F major, B. 40a	1977
(11) Armida, opera, B. 206 (Op.115)	1987
(2) At the hero's grave (U mohyly), for piano, B. 161/12 (Op. 85/12)	1997
(5) Ave Maria, for alto or baritone & organ, B. 68 (Op. 19b)	1971
(3) Ave maris stella, for voice & organ, B. 95a (Op. 19b)	1971
(2) Bacchanalia, for piano, B. 161/10 (Op. 85/10)	1997
(3) Bagatelle for 2 violins, cello & harmonium, B. 79/1 (Op. 47/1) WA	1999
Bagatelle for 2 violins, cello & harmonium, B. 79/2 (Op. 47/2) WA	1999
Bagatelle for 2 violins, cello & harmonium, B. 79/3 (Op. 47/3) WA	1999
Bagatelle for 2 violins, cello & harmonium, B. 79/4 (Op. 47/4) WA	1999
Bagatelle for 2 violins, cello & harmonium, B. 79/5 (Op. 47/5)

Widely regarded as the most distinguished of Czech composers, Antonin Dvorák (1841-1904) produced attractive and vigorous music possessed of clear formal outlines, melodies that are both memorable and spontaneous-sounding, and a colorful, effective instrumental sense. Dvorák is considered one of the major figures of nationalism, both proselytizing for and making actual use of folk influences, which he expertly combined with Classical forms in works of all genres. His symphonies are among his most widely appreciated works; the Symphony No. 9 ("From the New World," 1893) takes a place among the finest and most popular examples of the symphonic literature. Similarly, his Cello Concerto (1894-1895) is one of the cornerstones of the repertory, providing the soloist an opportunity for virtuosic flair and soaring expressivity. Dvorák displayed special skill in writing for chamber ensembles, producing dozens of such works; among these, his 14 string quartets (1862-1895), the "American" Quintet (1893) and the "Dumky" Trio (1890-1891) are outstanding examples of their respective genres, overflowing with attractive folklike melodies set like jewels into the solid fixtures of Brahmsian absolute forms.

Dvorák's "American" and "New World" works arose during the composer's sojourn in the United States in the early 1890s; he was uneasy with American high society and retreated to a small, predominantly Czech town in Iowa for summer vacations during his stay. However, he did make the acquaintance of the pioneering African-American baritone H.T. Burleigh, who may have influenced the seemingly spiritual-like melodies in the "New World" symphony and other works; some claim that the similarity resulted instead from a natural affinity between African-American and Eastern European melodic structures.

By that time, Dvorák was among the most celebrated of European composers, seen by many as the heir to Brahms, who had championed Dvorák during the younger composer's long climb to the top. The son of a butcher and occasional zither player, Dvorák studied the organ in Prague as a young man and worked variously as a café violist and church organist during the 1860s and 1870s while creating a growing body of symphonies, chamber music, and Czech-language opera. For three years in the 1870s he won a government grant (the Viennese critic Hanslick was among the judges) designed to help the careers of struggling young creative artists. Brahms gained for Dvorák a contract with his own publisher, Simrock, in 1877; the association proved a profitable one despite an initial controversy that flared when Dvorák insisted on including Czech-language work titles on the printed covers, a novelty in those musically German-dominated times. In the 1880s and 1890s Dvorák's reputation became international in scope thanks to a series of major masterpieces that included the Seventh, Eighth, and "New World" symphonies. At the end of his life he turned to opera once again; Rusalka, from 1901, incorporates Wagnerian influences into the musical telling of its legend-based story, and remains the most frequently performed of the composer's vocal works. Dvorák, a professor at Prague University from 1891 on, exerted a deep influence on Czech music of the twentieth century; among his students was Josef Suk, who also became his son-in-law. ~ All Music Guide, All Music Guide