Dvořák's two splendidly tuneful serenades are so attractive that you will find the tunes stuck in your head for days afterwards. If this makes you crazy, then you might want to exercise caution before playing them! Each is written for different forces: one for strings, the other for winds (with a single double bass to reinforce the bottom end). The Serenade for Winds is particularly special, being the ultimate example of a form that Czech composers really did better than anyone else. The wind writing has that essential "outdoors" quality, but it's also completely smooth and euphonious. Sir Neville Marriner's band does the music proud. This is one of their best recordings.

It is seldom these graceful, delightful pieces have such consummate musicianship lavished upon them. Few pianists today besides Stephen Hough could devise such a recital featuring his own compositions beside works by Liszt, Sibelius, Elgar, Mompou and many more. Such stuff is what dreams are made of.

In 1884, Antonín Dvořák undertook his first concert tour to England. This was to become a highlight of his career to date and brought him international recognition and economic security. It was a time of private and professional bliss. It is interesting to note, however, that the Seventh Symphony by no means reflects a consistently pastoral, idyllic atmosphere. On the contrary, the music often has a dramatic and sombre effect. It is possible that Dvořák was coming to terms with the blows of fate he had suffered: he had lost his mother and three children.

This is the best available modern recording of Dvorák’s three gorgeous Slavonic Rhapsodies, music that’s totally neglected in the concert hall and nearly so on recordings (at least by major names). The dark timbre of the Leipzig orchestra, with strings dominating, isn’t exactly ideal for Dvorák. However, in the rhapsodies at least, the playing is so lovely and Masur’s direction so musical and alert that it would be churlish to quibble further.

This is the best available modern recording of Dvorák’s three gorgeous Slavonic Rhapsodies, music that’s totally neglected in the concert hall and nearly so on recordings (at least by major names). The dark timbre of the Leipzig orchestra, with strings dominating, isn’t exactly ideal for Dvorák. However, in the rhapsodies at least, the playing is so lovely and Masur’s direction so musical and alert that it would be churlish to quibble further.

When Antonin Dvorák learned to compose, he did it the old-fashioned way – by composing. Although he had written numerous shorter works earlier, the 20-year-old Bohemian bestowed his Opus 1 on a three-movement String Quintet in A minor for pairs of violins and violas plus cello in 1861. The next year, he turned out his Opus 2, a four-movement String Quartet in A major, and over the next 12 years, he wrote six more string quartets. Through them, the listener can follow Dvorák's progress from a talented amateur with an inexhaustible gift for melody and little feel for form to an almost-ready-for-the-big-time composer who'd learned to tighten his structures and control his gift for melody.

New Czech recordings of perennially popular serenades from the pen of Dvořák at a turning point in his career, full of freshness, Bohemian charm and flowing melodies.

Jedes Jahr begeistert die traumhafte Kulisse des Sommernachtskonzertes im Park von Schloss Schönbrunn nicht nur die über 100.000 Besucher im Park, sondern auch die Fernsehzuschauer in aller Welt. Die Wiener Philharmoniker und der Dirigent Christoph Eschenbach präsentierten ein farbenprächtiges, stimmungsvolles Programm zum Thema "Märchen und Mythen": von Dvorák erklingt die Konzertouvertüre "Karneval", Stargast Renée Fleming singt eine Arie aus der Oper "Armida" und das berühmte Lied an den Mond aus "Rusalka"; dann folgen von Tschaikowsky Stücke aus der "Dornröschen-Suite" und von Rachmaninow die orchestrierten Lieder Sumerki (Twilight), Ne poy, krasavitsa, pri mne ((Sing not to me, beautiful maiden) und Vesenniye vodi (Spring waters), von Humperdinck das Vorspiel aus der Oper "Hänsel und Gretel".

The Summer Night Concert of the Vienna Philharmonic is the world's biggest annual classical open-air concert that takes place in the magical setting of the Schönbrunn Palace Baroque park in Vienna (Concert date: June 16, 2022).

Dvorák's early Quintet is here taken a little too seriously at times, but Richter and the Borodins revel in the riches of its glorious successor. Recorded live in clear but thin digital sound.

This orchestra learned to play these symphonies under the legendary George Szell, whose Sony recordings have been reissued on CD and remain a prime recommendation in this music. For those seeking digital sound, however, these new versions are very distinguished, combining the Cleveland Orchestra's customary superb ensemble with a warmth and urgency of expression usually in short supply from this conductor. At mid-price, this is an excellent recommendation.

On Thursday, 20 June 2019, The Vienna Philharmonic performed its annual Summer Night Concert at Schönbrunn, an open air event with free admission in the unique ambience of the gardens of Schönbrunn Palace. Gustavo Dudamel conducts this open-air concert for the second time after 2012, the evening's soloist is the Beijing-born pianist Yuja Wang.
The focus of the Summer Night Concert 2019 is the music history of the United States of America. The works that were performed this year were written in or for America.

Lilting melodies and exhilarating dance rhythms; gentle pathos, brooding drama and robust high spirits; the spirit of rural Bohemia and the sophistication of Prague, Vienna, New York and London in the late 19th century: Antonin Dvořák’s music is unfailingly distinctive and captivating. In all his works – from the epic ‘New World’ Symphony and Cello Concerto to the irresistible Slavonic Dances, haunting ‘American’ String Quartet, quirky violin Humoresque and yearning Song to the Moon – he is a composer whose heart is open and generous, and whose love for his homeland always shines through. This box provides an illuminating and enriching survey of his works, including his complete symphonies. A number of the celebrated performers have Slavonic roots themselves; all their interpretations draw on a deep affinity with Dvořák’s inspiration and humanity.

Dvorák's Stabat Mater, Op. 58, was finished in 1880, wrenched out over several years after the death of the composer's daughter. It is a sizable setting that has been largely overlooked in favor of Dvorák's later works, but increasing interest in Romantic-era choral music has brought new performances. It has few specifically Czech elements, gaining its interest partly from its combination of a rather formal quality with strong personal feeling. This reading, conducted by Estonia's Neeme Järvi, is hard to beat. Start with the live engineering from the London Philharmonic Orchestra's new Royal Festival Hall, getting clarity from very large forces.

Antonin Dvorák's Piano Quartet No. 2 is one of the greatest chamber works of the 19th century (as are many of Dvorák's chamber compositions). Written in 1889 at the request of his publisher Simrock, it is a big, bold work filled with the Czech master's trademark melodic fecundity, harmonic richness, and rhythmic vitality. The first movement is a soaring, outdoor allegro with an assertively optimistic main theme accented by Czech contours and Dvorák's love of mixing major and minor modes. The Lento movement's wistful main theme is played with a perfect mixture of passion and poise by cellist Yo-Yo Ma. The music alternates between passages of drama and delicacy in this, one of Dvorák's finest slow movements in any medium. The Scherzo's stately waltz is contrasted by a lively, up-tempo Czech country dance. The finale is a high-stepping, high-spirited allegro with a strong rhythmic pulse that relaxes for the beautifully lyrical second subject.