Antonín Dvořák

Connections with Chopin's highly stylized waltzes cannot be found in Dvorak's counterpiece at all. Instead, the Bohemian composer enchants the listener with folkloristic elements and a very individual...

Dvorák's Waltzes and Mazurkas prove to be a successfully contrived balancing act between stylised composition and musical immediacy. The music critic Louis Ehlert once wrote of Dvorák's Slavonic Dance...

Many a pianist will be surprised to learn that Dvořák's famous Humoresque no. 7 was originally a piano piece, since this irresistible melody - undoubtedly one of Dvořák's happiest inspirations - has c...

Antonín Dvořák's piano works are generally overshadowed by his symphonies and chamber music works, especially since those from around 1880 are very much oriented around Schubert, Chopin and Schumann....

According to Dvorak 'good music must also sound good on the piano'. This is why, on his publisher's request, he not only wrote the original version of his Dumky-Trio but was also willing to write one...

Accompaniment: Manhattan String Quartet - Dvorak gave the piano a heavy involvement in this beautiful chamber work. The second movement is patterned after the 'Dumka' dance form. Beautiful melodies, w...

The principal theme from the second movement of this symphony is equal in fame and popularity to Pachelbel s Canon and Albinoni s Adagio. This incredibly simple and beautiful theme has been arranged h...

Antonín Dvorák schrieb mehrere Humoresken, die unter Opus 101 zusammengefasst sind und dem Jahr 1894 zugeordnet werden. Die davon wohl bekannteste Humoreske ist die hier vorliegende siebte dieser Werk...

The composer himself described the work in a letter as 'intended for the young', but also suitable for 'tall, grown-ups'. The sonatina is dedicated to Dvorák's 15- and 10-year-old children and based o...