It seems that Dvořák's revision of the opera between 1873 and 1874 was but part of a larger stylistic renovation being undertaken by the composer at the time
While this style of music might be regarded, somewhat cynically, as a kind of opportunistic "tourist nationalism" (to quote a recent historian), listeners in Dvořák's time thought the very opposite…
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Piano Trio No. 3 in F Minor, Op. 65, B. 130: I. Allegro ma non troppo (Excerpt)
In August 1883, Dvořák received a prestigious invitation: the London Philharmonic Society requested his presence as conductor (of his own orchestral works) in their forthcoming concert season
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Stabat Mater, Op. 58, B. 71 (1876 Version): Stabat mater dolorosa (Excerpt) (1876 Version)
In 1891, the same year Dvořák completed the "Dumky" Trio, he took up the position of professor of composition and instrumentation at the Prague Conservatory
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Te Deum, Op. 103, B. 176: Te Deum laudamus (Excerpt)
The premiere of the Te Deum within the celebratory concert, which took place on 21 October 1892 at New York's Carnegie Hall, was preceded by a concert address by the American musical patron…
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Symphony No. 9 in E Minor, Op. 95, B. 178 "From the New World": III. Scherzo. Molto vivace (Excerpt)
The next - and, indeed, the penultimate - phase in Dvořák's compositional journey seems to have emerged from his previous interest in music's extra-musical associations…
