Antonín Dvorak – A Complete Biography

Introduction

Antonín Dvořák stands among the most beloved composers in Western classical music, distinguished for his ability to combine Bohemian folk melody, classical form, and expressive emotional depth. His music bridges national traditions and global appeal, making him one of the prominent figures of the late Romantic era. Unlike many of his contemporaries, Dvořák achieved widespread recognition during his lifetime, celebrated for music that was both original and instantly accessible. Over the course of his career, he produced symphonies, operas, chamber works, concertos, sacred music, and choral compositions that continue to be performed worldwide. His blend of folk-inspired lyricism with masterful orchestration made him a crucial figure in elevating Czech national music to international prominence.

Childhood

Antonín Leopold Dvořák was born on September 8, 1841, in the small village of Nelahozeves, near Prague, then part of the Austrian Empire. His family was modest in means but rich in cultural tradition. His father was an innkeeper and butcher who also played the zither, filling the household with music. Dvořák grew up immersed in the rhythms and melodies of Bohemian village life—polkas, dances, and folk songs that would later form the backbone of his musical voice.

Recognizing his son’s musical aptitude, Dvořák’s parents allowed him to take violin lessons at the age of six. He excelled quickly, showing natural musical sensitivity and an exceptional ear. Although his family initially hoped he would take over the family business, it became clear that his true talents lay elsewhere. By his early teens, Dvořák had begun to study not only violin but also organ, harmony, and musical theory, setting the foundation for a future professional career.

Youth

In 1857, at the age of sixteen, Dvořák entered the Prague Organ School, one of the principal musical institutions in the region. Here he studied performance, composition, and counterpoint with great seriousness. Although his early works remained largely academic, classmates and teachers noted his strong work ethic and ambition.

After graduating in 1859, he joined Karel Komzák’s Bohemian Provisional Theater Orchestra as a violist. This ensemble eventually came under the direction of Bedřich Smetana, a leading figure in Czech national music. Performing daily under Smetana’s baton exposed Dvořák to new orchestral colors, operatic structures, and the expressive possibilities of Romantic music. At the same time, he earned additional income by teaching and playing in small ensembles, slowly gaining confidence as a composer.

During these early years, Dvořák wrote chamber pieces, songs, and symphonic works, though most went unnoticed. Financial hardship and professional obscurity marked this period, but it was vital in shaping his musical identity. His growing interest in integrating Czech folk elements into classical forms became increasingly apparent.

Adulthood

Dvořák’s fortunes changed dramatically in the 1870s. After submitting compositions to a competition intended to assist young artists, he began receiving government stipends that alleviated financial pressure and attracted the attention of influential musicians. One of the judges, Johannes Brahms, became an ardent supporter and introduced Dvořák’s work to major publishers. This exposure helped launch Dvořák onto the international stage.

By the 1880s, Dvořák was hailed as one of Europe’s leading composers. His “Slavonic Dances” charmed audiences with their rhythmic vitality and melodic inventiveness, while works such as the Seventh Symphony, Stabat Mater, and various chamber compositions solidified his reputation. He toured England multiple times, where he enjoyed great popularity and received honorary degrees from major universities.

In 1892, Dvořák accepted an invitation to direct the National Conservatory of Music in New York City. His time in America proved profoundly influential. Encouraged to help develop a distinctly American classical style, he became fascinated with African American spirituals and Native American melodies. These influences culminated in his Symphony No. 9, “From the New World,” which became one of the most celebrated symphonies ever written.

Returning to Bohemia in 1895, he spent his later years writing operas and symphonic poems and serving as director of the Prague Conservatory. Despite his fame, he remained personally modest, devoted to family, teaching, and the musical life of his homeland.

Major Compositions

Dvořák’s output is remarkable in breadth, beauty, and originality. Among his most important works are:

Symphonic Works

• Symphony No. 9 in E minor, “From the New World” – Inspired by Dvořák’s experiences in America, it blends classical structure with spiritual-like melodies and evocative orchestral color.
• Symphony No. 7 – A powerful and dramatic work considered one of his finest achievements in the form.
• Symphony No. 8 – Brighter and more pastoral, reflecting the rich natural beauty of the Czech countryside.

Concertos

• Cello Concerto in B minor – Widely regarded as the greatest cello concerto ever written.
• Violin Concerto in A minor – A virtuosic yet melodic work influenced by Slavic folk rhythms.

Chamber Music

• String Quartet No. 12, “American” – Composed during his stay in the United States; filled with open, spacious melodies.
• Piano Quintet No. 2 – A cornerstone of Romantic chamber music.
• Dumky Trio – A uniquely structured and deeply expressive work based on the Slavic “dumka.”

Vocal and Choral Music

• Stabat Mater – A moving sacred composition written after the loss of his children.
• Requiem – A masterpiece of solemn beauty.
• Songs My Mother Taught Me – One of his most beloved lyrical creations.

Operas and Symphonic Poems

• Rusalka – His most successful opera, including the famous aria “Song to the Moon.”
• The Water Goblin, The Noon Witch, and The Golden Spinning Wheel – Symphonic poems inspired by Czech folklore.

Through these works and many others, Dvořák demonstrated a remarkable mastery of melody, form, and orchestration, making him one of the essential composers of the Romantic era.

Death

Antonín Dvořák remained active and respected until his final days. In the early months of 1904, he suffered a brief illness, likely due to complications from influenza. He died on May 1, 1904, in Prague, surrounded by family. His passing was widely mourned across Europe and the United States. Thousands attended his funeral, and he was buried in the Vyšehrad Cemetery, final resting place of many great Czech artists.

Conclusion

Antonín Dvořák’s legacy stands as a testament to the power of national identity blended with universal human expression. His music, rooted in the landscapes and traditions of his Czech homeland, resonates far beyond national borders. With its lyrical beauty, rhythmic vitality, and emotional honesty, his oeuvre continues to inspire musicians, scholars, and audiences around the world.

Dvořák’s ability to elevate folk material into symphonic art, his influential role in shaping American classical identity, and his extraordinary melodic gift secure his place as one of the greatest composers of the Romantic era. More than a century after his death, his music remains vibrant, beloved, and essential.

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Antonín Dvořák: A Complete Biography

Introduction

Antonín Dvořák (1841–1904) stands among the most celebrated composers of the Romantic era. Famed for his richly melodic compositions, Dvořák masterfully wove elements of Bohemian folk music with classical traditions, creating works of global appeal. His music—ranging from symphonies and chamber works to operas and choral pieces—bridged the old world and the new, culminating in his iconic Symphony No. 9 in E minor (“From the New World”), composed during his time in the United States.

Childhood

Antonín Leopold Dvořák was born on September 8, 1841, in Nelahozeves, a small village near Prague in what was then the Austrian Empire (now the Czech Republic). He was the eldest of nine children in a modest, devout Catholic family. His father, František Dvořák, was an innkeeper and butcher who also played the zither, which likely influenced Antonín’s early interest in music (Oxford Music Online).

As a child, Dvořák showed exceptional musical talent. He began violin lessons around the age of six and later learned piano and organ. His family recognized his gift and supported his education. By age 12, Dvořák was sent to Zlonice to live with an uncle and attend school, where he received his first formal training in music theory and performance (Grove Music Online).

Youth

In 1857, at 16, Dvořák moved to Prague to study at the Prague Organ School. Though his formal training was focused on organ performance, he also studied composition, harmony, and counterpoint. During this time, he supported himself by playing viola in local dance bands and theater orchestras, including the Bohemian Provisional Theater Orchestra, conducted by Bedřich Smetana, a major figure in Czech music (Britannica).

The 1860s were difficult for Dvořák financially. He gave private lessons, worked as a church organist, and composed in his spare time. However, these early years were crucial for the development of his musical style, blending classical forms with Slavic melodic patterns.

Adulthood

Dvořák’s breakthrough came in 1874, when he applied for and won the Austrian State Prize for Composition, judged by a panel that included Johannes Brahms. Brahms was deeply impressed and helped Dvořák connect with music publisher Fritz Simrock, launching his international career.

In 1878, Simrock published Dvořák’s Slavonic Dances, which became an instant hit across Europe and the United States. The dances showcased Dvořák’s deep love for Czech folk music and his unique ability to integrate these idioms into classical forms (The Kennedy Center).

Throughout the 1880s, Dvořák composed prolifically, producing symphonies, chamber works, concertos, and operas. His fame grew, and he received invitations to perform and conduct abroad.

In 1892, Dvořák accepted an invitation to become the director of the National Conservatory of Music in New York City. He spent three years in the United States, where he encouraged American composers to draw from African American spirituals and Native American music. It was during this time that he composed the New World Symphony, which remains one of the most frequently performed symphonies in the world (Naxos Music Library).

Major Compositions

Dvořák’s music is notable for its lyrical beauty, rhythmic vitality, and nationalistic spirit. His most celebrated works include:

• Symphony No. 9 in E minor, “From the New World” (1893): Written in New York, this symphony blends Bohemian melodies with African American spirituals and Native American themes, symbolizing the possibilities of a distinctly American classical sound.
• Cello Concerto in B minor (1895): A monumental work for cello and orchestra, considered one of the greatest concertos ever written for the instrument.
• Slavonic Dances (Op. 46 and Op. 72): Energetic and colorful orchestral dances inspired by Czech folk rhythms.
• “American” String Quartet No. 12 in F major (1893): Composed in Spillville, Iowa, the quartet captures Dvořák’s impressions of America while maintaining his Czech musical identity.
• Stabat Mater (1877) and Requiem (1890): Profound choral works that reflect Dvořák’s deep religious convictions.
• Rusalka (1901): A poignant opera based on a Slavic fairy tale, featuring the famous aria “Song to the Moon.”

Death

After returning to Prague in 1895, Dvořák resumed teaching at the Prague Conservatory and composed several operas and chamber works. Though he remained active and respected, his final years were quieter.

Antonín Dvořák died on May 1, 1904, at the age of 62, following a brief illness. He was buried in Vyšehrad Cemetery in Prague, among other great Czech cultural figures. His death marked the end of a life that had deeply influenced both European and American musical landscapes.

Conclusion

Antonín Dvořák’s legacy endures through his vibrant, emotionally rich compositions that celebrate both national identity and universal human expression. From humble beginnings in rural Bohemia to international acclaim in Europe and the United States, Dvořák remains a towering figure in classical music. His encouragement of national musical traditions—especially during his time in America—continues to inspire composers around the world.

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Antonín Dvořák, a Czech composer of the late Romantic era, left an indelible mark on the world of classical music. Here are ten fascinating facts about this musical luminary:

• Bohemian Roots:
  Antonín Leopold Dvořák was born on September 8, 1841, in Nelahozeves, a village near Prague in what was then the Austrian Empire. He hailed from a humble background, his father being a butcher and innkeeper. His early life in the picturesque Bohemian countryside would later influence his compositions.

• Musical Prodigy:
  Dvořák displayed an early aptitude for music. His talent was recognized by his village schoolmaster and then by his father, who arranged for his education in music. At the age of 16, he left home to study at the Prague Organ School, where his exceptional skills in composition and performance began to flourish.

• Humility in Success:
  Despite achieving international acclaim, Dvořák remained modest. His fame grew rapidly, especially after winning the Austrian State Stipendium in 1874. However, he continued to live a simple life, valuing his Bohemian roots and drawing inspiration from folk music.

• Slavic Nationalism:
  Dvořák was a prominent advocate of Slavic nationalism in music. His compositions often incorporated elements of Czech folk music, which helped to define his distinct musical voice. He sought to create a national style of music that would be uniquely Bohemian and Slavic.

• Influence of Folk Music:
  Dvořák’s interest in folk music extended beyond his native Czech Republic. During his tenure in the United States, he explored African American and Native American music, incorporating these influences into his compositions. His “New World Symphony” is a prime example of this cross-cultural musical exploration.

• American Interlude:
  From 1892 to 1895, Dvořák served as the director of the National Conservatory of Music in New York City. This American sojourn was a pivotal period in his career. He encountered African American and Native American melodies, which left an indelible mark on his later works.

• Master of Melody:
  Dvořák was celebrated for his gift of melody. His compositions are known for their lyrical beauty and emotional depth. This melodic prowess, coupled with his innovative harmonies and orchestration, secured his place among the great Romantic composers.

• Operatic Ventures:
  Although Dvořák is primarily renowned for his symphonic and chamber music, he also ventured into the realm of opera. His operas, including “Rusalka” and “The Jacobin,” showcase his ability to infuse dramatic storytelling with his distinctive musical language.

• Friendship with Brahms:
  Dvořák formed a close friendship with the renowned German composer Johannes Brahms. Brahms recognized Dvořák’s talent early on and played a crucial role in helping him gain recognition in the broader European musical scene. Their camaraderie is evident in the mutual admiration expressed in their correspondence.

• Legacy and Recognition:
  Antonín Dvořák’s legacy endures through his rich musical contributions. His compositions, ranging from symphonies and chamber music to operas, continue to captivate audiences worldwide. Dvořák’s impact on the development of Czech music and his role in bridging cultural influences make him a revered figure in the history of classical music.

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Antonín Dvořák was one of the most influential composers of the late 19th and early 20th centuries. His music is celebrated for its melodic richness, rhythmic vitality and harmonic inventiveness. He was also a prolific and versatile composer, who wrote in various genres and forms, from symphonies and operas to chamber music and songs. Here are seven curiosities about his life and work that you may not know.

• He was born in a small village near Prague, where his father was a butcher and innkeeper. He learned to play the violin, organ and piano from an early age, and showed a natural talent for music. He also had a keen interest in nature and folklore, which influenced his later compositions.

• He worked as an organist and violist in Prague for many years, before gaining recognition as a composer. He was a member of the orchestra of the National Theatre, where he played under the baton of Bedřich Smetana, the founder of Czech national music. He also taught at the Prague Conservatory, where he had many famous students, such as Josef Suk and Leoš Janáček.

• He was inspired by the music of Ludwig van Beethoven, Franz Schubert, Robert Schumann and Richard Wagner, but also by the folk music of his native Bohemia and Moravia. He incorporated elements of folk melodies, rhythms and modes into his own musical language, creating a distinctive style that blended classical and national traditions.

• He traveled extensively throughout Europe and America, where he encountered different musical cultures and influences. He visited England nine times, where he was warmly received by the public and the critics. He also spent three years in New York, where he was the director of the National Conservatory of Music. There he composed some of his most famous works, such as the Symphony No. 9 “From the New World” and the Cello Concerto in B minor.

• He was a devout Catholic and a devoted family man. He married his wife Anna in 1873, and they had nine children, six of whom survived to adulthood. He often dedicated his works to his family members, such as the Piano Quintet in A major to his daughter Otilie, or the String Quartet No. 12 “American” to his son Antonín Jr.

• He was a friend and mentor of Johannes Brahms, who admired his music and helped him to achieve international fame. Brahms recommended Dvořák’s works to his publisher Simrock, who offered him a lucrative contract. Brahms also wrote a glowing review of Dvořák’s Slavonic Dances, which became a sensation across Europe.

• He died in 1904 at the age of 62, after suffering from a series of illnesses. He was buried in the Vyšehrad cemetery in Prague, alongside other Czech cultural icons such as Smetana, Karel Čapek and Alfons Mucha. His legacy lives on in his music, which is widely performed and recorded by musicians around the world.

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Dvorak – Short Biography

Dvořák was born in Nelahozeves, a Bohemian village on the Vltava River north of Prague. He came to know music early, in and about his father’s inn, and as a youngster became an accomplished violinist contributing to the amateur music-making that accompanied the dances of the local couples.

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Five Facts You Didn’t Know About Dvorak

Dvořák was the oldest of 14 children . His father was a zither player, an innkeeper, and also a butcher. A young Antonin not only joined his father in the local band, but also in his business as an apprentice butcher. At the age of 13, he was inducted into the Butcher’s Guild of Zlonice.

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Humoresques (Czech: Humoresky), Op. 101 (B. 187), is a piano cycle by the Czech composer Antonín Dvořák, written during the summer of 1894. One writer says “the seventh Humoresque is probably the most famous small piano work ever written after Beethoven’s Für Elise.”

During his stay in United States, when Dvořák was director of the Conservatory in New York from 1892 to 1895, the composer collected many interesting musical themes in his sketchbooks. He used some of these ideas in other compositions, notably the “New World” Symphony, the “American” String Quartet, the Quintet in E♭ Major, and the Sonatina for Violin, but some remained unused.

In 1894 Dvořák spent the summer with his family in Bohemia, at Vysoká u Příbrami. During this “vacation”, Dvořák began to use the collected material and to compose a new cycle of short piano pieces. On 19 July 1894 Dvořák sketched the first Humoresque in B major, today number 6 in the cycle. However, the composer soon started to create scores for the pieces that were intended to be published. The score was completed on 27 August 1894.

The cycle was entitled Humoresques shortly before Dvořák sent the score to his German publisher F. Simrock. The composition was published by Simrock in Autumn, 1894.

The publisher took advantage of the great popularity of the seventh Humoresque to produce arrangements for many instruments and ensembles. The piece was later also published as a song with various lyrics. It has also been arranged for choir. The melody was also used as the theme of Slappy Squirrel in the popular animated television show Animaniacs. In 2004 the vocal group Beethoven’s Wig used Humoresque as the basis for a song entitled Dvořák the Czechoslovak.

Dvorak – Humoresque No. 7 in Gb Op. 101-

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The sonatina op. 100, written during Dvorák’s stay in the USA in 1893, is dedicated to his six children. On January 2, 1894, the composer wrote to his publisher Simrock: “Thank God, I am healthy and well, having just completed my 100th work, a sonatina for violin and piano.

It is intended for the youth (dedicated to my children), but grown-ups, adults, shall enjoy themselves with it as they see fit.”

It was the last chamber composition he wrote during his sojourn in the United States. Dvořák catered the sonatina to the gradually developing musical abilities of his children, especially those of his 15-year-old daughter Otilie and 10-year-old son Toník, who played piano and violin respectively.

Inspired by the fascinating landscape of Northern America and by meetings with the native Indian inhabitants, a wealth of impressions has found its way into the movements of this sonatina. And that, accordingly, makes it a part of the teaching canon that is not only useful, but also very attractive.

The sonatina was published by Simrock in Berlin in 1894. It also exists in a version for cello and piano.

The four short movements of the sonatina each exhibit a simple and clear, formal structure (hence the diminutive, cf. sonata). They all contain themes, which, like those already found in his other American chamber works (the String Quartet in F and the String Quintet in E♭), owe their inspiration to Indian melodies and Negro spirituals, which are characterized by pentatonic scales and syncopated rhythm, among other traits. The mood of the composition is fresh and joyful. Only the second movement and part of the last movement are nostalgic; they are inspired by the composer’s longing for his home country.

A motive for the slow movement Larghetto was hurriedly noted down on Dvořák’s shirt sleeve while on a visit to Minnehaha Falls, in Minneapolis, Minnesota. Simrock sold this movement separately, without the composer’s permission, and Fritz Kreisler often performed it as Indian Lament. It also appeared as Indian Canzonetta; such romantic titles were not the composer’s, but were added subsequently by publishers.

Dvorak – Sonatina for Violin and Piano Op. 100

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The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by Antonín Dvořák. It was written in 1893, during Dvořák’s time in the United States. The quartet is one of the most popular in the chamber music repertoire.

Dvořák composed the quartet in 1893 during a summer vacation from his position as director (1892–1895) of the National Conservatory in New York City. He spent his vacation in the town of Spillville, Iowa, which was home to a Czech immigrant community. Dvořák had come to Spillville through Josef Jan Kovařík who had finished violin studies at the Prague Conservatory and was about to return to Spillville, his home in the United States, when Dvořák offered him a position as secretary, which Josef Jan accepted, so he came to live with the Dvořák family in New York. He told Dvořák about Spillville, where his father Jan Josef was a schoolmaster, which led to Dvořák deciding to spend the summer of 1893 there.

In that environment, and surrounded by beautiful nature, Dvořák felt very much at ease. Writing to a friend he described his state of mind, away from hectic New York: “I have been on vacation since 3 June here in the Czech village of Spillville and I won’t be returning to New York until the latter half of September. The children arrived safely from Europe and we’re all happy together. We like it very much here and, thank God, I am working hard and I’m healthy and in good spirits.” He composed the quartet shortly after the New World Symphony, before that work had been performed.

Dvořák sketched the quartet in three days and completed it in thirteen more days, finishing the score with the comment “Thank God! I am content. It was fast.” It was his second attempt to write a quartet in F major: his first effort, 12 years earlier, produced only one movement. The American Quartet proved a turning point in Dvořák’s chamber music output: for decades he had toiled unsuccessfully to find a balance between his overflowing melodic invention and a clear structure. In the American Quartet it finally came together. Dvořák defended the apparent simplicity of the piece: “When I wrote this quartet in the Czech community of Spillville in 1893, I wanted to write something for once that was very melodious and straightforward, and dear Papa Haydn kept appearing before my eyes, and that is why it all turned out so simply. And it’s good that it did.”

For his symphony Dvořák gave the subtitle himself: “From the New World”. To the quartet he gave no subtitle himself, but there is the comment “The second composition written in America.”

Dvorak – String Quartet No. 12 in F major

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Dvorak Biography – Music Collection – Music | History

Dvořák was born, the first of nine children, in Nelahozeves, a Bohemian (now Czech) village on the Vltava River north of Prague. He came to know music early, in and about his father’s inn, and became an accomplished violinist as a youngster, contributing to the amateur music-making that accompanied the dances of the local couples. Though it was assumed that he would become a butcher and innkeeper like his father (who also played the zither), the boy had an unmistakable talent for music that was recognized and encouraged. When he was about 12 years old, he moved to Zlonice to live with an aunt and uncle and began studying harmony, piano, and organ. He wrote his earliest works, polkas, during the three years he spent in Zlonice. In 1857 a perceptive music teacher, understanding that young Antonín had gone beyond his own modest abilities to teach him, persuaded his father to enroll him at the Institute for Church Music in Prague. There Dvořák completed a two-year course and played the viola in various inns and with theatre bands, augmenting his small salary with a few private pupils.
The 1860s were trying years for Dvořák, who was hard-pressed for both time and the means, even paper and a piano, to compose. In later years he said he had little recollection of what he wrote in those days, but about 1864 two symphonies, an opera, chamber music, and numerous songs lay unheard in his desk. The varied works of this period show that his earlier leanings toward the music of Ludwig van Beethoven and Franz Schubert were becoming increasingly tinged with the influence of Richard Wagner and Franz Liszt.
Among the students Dvořák tutored throughout the 1860s were the sisters Josefina and Anna Čermáková. The musician fell in love with the elder sister, Josefina, but she did not reciprocate his feelings. The anguish of his unrequited love is said to be expressed in Cypresses (1865), a number of songs set to texts by Gustav Pfleger-Moravský. In November 1873 he married the younger sister, Anna, a pianist and singer. The first few years of the Dvořáks’ marriage were challenged by financial insecurity and marked by tragedy. Anna had given birth to three children by 1876 but by 1877 had buried all of them. In 1878, however, she gave birth to the first of the six healthy children the couple would raise together. The Dvořáks maintained a close relationship with Josefina and the man she eventually married, Count Václav Kounic. After several years of regular visits, they bought a summer house in the small village of Vysoká, where Josefina and the count had settled, and spent every summer there from that point onward. Dvořák composed some of his best-known works there.
In 1875 Dvořák was awarded a state grant by the Austrian government, and this award brought him into contact with Johannes Brahms, with whom he formed a close and fruitful friendship. Brahms not only gave him valuable technical advice but also found him an influential publisher in Fritz Simrock, and it was with his firm’s publication of the Moravian Duets (composed 1876) for soprano and contralto and the Slavonic Dances (1878) for piano duet that Dvořák first attracted worldwide attention to himself and to his country’s music. The admiration of the leading critics, instrumentalists, and conductors of the day continued to spread his fame abroad, which led naturally to even greater triumphs in his own country. In 1884 he made the first of 10 visits to England, where the success of his works, especially his choral works, was a source of constant pride to him, although only the Stabat Mater (1877) and Te Deum (1892) continue to hold a position among the finer works of their kind. In 1890 he enjoyed a personal triumph in Moscow, where two concerts were arranged for him by his friend Pyotr Ilyich Tchaikovsky. The following year he was made an honorary doctor of music of the University of Cambridge.
Dvořák accepted the post of director of the newly established National Conservatory of Music in New York in 1892, and, during his years in the United States, he traveled as far west as Iowa. Though he found much to interest and stimulate him in the New World environment, he soon came to miss his own country, and he returned to Bohemia in 1895. The final years of his life saw the composition of several string quartets and symphonic poems and his last three operas.

Tracklist:
1 – Dvorak – Czech Suite, Op. 39 – I. Praeludium
2 – Dvorak – Legends, Op.59 – 2. Molto moderato (G major) (Orchestral version, B.122)
3 – Dvorak – Sonatina for Violin and Piano, Op. 100 – I. Allegro risoluto
4 – Dvorak – Symphony no. 8, Op. 88 – II. Adagio

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