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Donald Macleod reveals how Dvořák’s popularity with the British public led to many significant commissions.

In an era overloaded with brooding and overwrought Romantic sensibilities, Antonín Dvořák’s music shone with grace, joy and humanity. Audiences were enchanted and adopted Dvořák as one of the 19th century’s most beloved composers. He was especially in demand in Britain and the USA, and enjoyed successful visits both countries. Dvořák was never happier, though, than at home in his native Bohemia, listening to the birds singing, feeding his pigeons, and indulging in a bit of train spotting, too.

Dvořák’s Sixth Symphony had made him famous in London, even before his first visit there. When he finally made the trip, he had never journeyed so far or, indeed, even seen the sea before. Many more visits to England would follow. His British fans showered him with praise and endless social invitations. He was asked to conduct his Stabat Mater at the Three Choirs Festival in Worcester and the Philharmonic Society commissioned him to write his Seventh Symphony. Dvořák was so popular that his image even appeared on Wills’s cigarette cards.

Symphony No 6 in D, Op 60 (Scherzo)
Vienna Philharmonic
Myung-Whun Chung, conductor

Stabat Mater, Op 58 (excerpt)
Eri Nakamura, soprano
Elisabeth Kulman, contralto
Michael Spyres, tenor
Jongmin Park, bass
Prague Philharmonic Choir
Czech Philharmonic Orchestra
Jiří Bĕlohlávek, conductor

Symphony No 7 in D minor, Op 70 (excerpt)
Oslo Philharmonic Orchestra
Mariss Jansons, conductor

Terzetto, Op 74 (Tema con variazioni)
Guarneri Quartet

Produced by Luke Whitlock, for Â鶹ԼÅÄ Wales