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Donald Macleod sees Dvořák enjoying the rewards of his success.

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.

By the late 1880s, Dvořák was firmly established as a composer and his popularity was rising in his homeland and abroad. He set to writing a large-scale piano quintet, following in the footsteps of Schumann and Brahms, and resulting in one of the finest examples of the form. He also turned to opera and produced another symphony, his Eighth. Dvořák was invited to become a teacher at the Prague Conservatoire, which he eventually agreed to do. His students found his teaching methods unconventional, but idolised him all the same.

Slavonic Dances, Op 72 No 2 (Dumka)
Czech Philharmonic Orchestra
Jiří Bĕlohlávek, conductor

Piano Quintet in A major, Op 81 (excerpt)
Pavel Haas Quartet
Boris Giltburg, piano

Symphony No 8 in G major, Op 88 (excerpt)
London Symphony Orchestra
Witold Rowicki, conductor

Carnival Overture, Op 92
Bavarian Radio Symphony Orchestra
Rafael Kubelik, conductor

Produced by Luke Whitlock, for Â鶹ԼÅÄ Wales