# Dvořák is #9 on the forum! Favorite works?



## Ethereality (Apr 6, 2019)

Our participation list names Dvořák the #9 composer. Said list is inherently designed by any who regularly listen to/vote on a great number of works on this forum. See thorough conclusion here.

*How would your rate this nationalist composer from the Czech Republic?* Love or hate? Who would you replace with him instead? 
*What are your personal favorite works by this highly celebrated figure?*

Here is one of my personal favorite recordings/excerpts:





I also particularly adore the first _2_ movements of his 9th. A wonderful talent for orchestration and melody.

What I enjoy most about Dvořák is throughout all of his works, he has these little moments of pure melodic wonder and beauty. In the earlier thread on 'most beautiful works,' I nominated Beethoven and Dvořák in their own ways the most beautiful composers, and I think this notion takes seeing somewhat past their traditional arrangement style and into more of their pure love for pastoral imagination. I greatly enjoy their particular use of woodwinds and strings. For those who don't like the highly regarded Czech figure, out of curiosity, how would you best describe what it is about him you don't care for? We welcome all opinions, as your opinions may pose very helpful!


:tiphat: Happy Listening​


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## Art Rock (Nov 28, 2009)

To clarify, the voting is done on compositions. The list of composers was distilled by someone not participating in the voting via a formula that is his own suggestion. The resulting list is interesting, but other calculation methods would yield other lists.

Dvorak's position in this list is very close to his position in my own list (#8). I love his sense of melody, and the way he manages to created great works over a wide variety of genres. My favourites are his symphonies (especially 7-9, but the earlier ones are well worthwhile), the concertos (especially for violin - the famous one for cello is OK, but less in my taste), the operas (especially Rusalka) and the chamber music (especially the later string quartets, piano trios, piano quartets, and string quintets 2 and 3).


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## Strange Magic (Sep 14, 2015)

Also a big fan of Symphony No. 7. But D's Biggest Hit with me is the Violin Concerto. American Quartet tasty also.


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## Ethereality (Apr 6, 2019)

Art Rock said:


> To clarify, the voting is done on compositions. The list of composers was distilled by someone not participating in the voting via a formula that is his own suggestion. The resulting list is interesting, but other calculation methods would yield other lists.


Let me get to the rest of your post shortly, but may I ask first, are not the positions of the works constantly changing, and new composers constantly being added? Dvorak's rank should be fairly settled. I am particularly settled on this list's method (full explanation) because it requires much assumed/collective effort on the behalf of participants. There are a lot more calculations done on it every day. Other surveys might yield good results, but they'd include individuals who don't actively participate in listening to Classical as much, thus may not have as well-informed an opinion. Speaking from experience. Please see here. Thanks!


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## Art Rock (Nov 28, 2009)

Ethereality said:


> Let me get to the rest of your post shortly, but may I ask first, aren't the positions of the works constantly changing? New composers constantly being added? How long would it take for Dvorak's position to find the right spot? I particularly like the method of the list because it requires much (assumed/collective) effort on the behalf of participants. There are a lot more calculations done on it every day.


New compositions (some by new composers) are added frequently. Positions of works already in the list are shifted regularly. The main issue is HOW to come from a list ranking compositions in tiers to a list of composers. Couchie used his own idea about that, but one can think of many other ways to do it, each resulting in a different list. So, applying one calculation method consistently (e.g. Couchie's), I would expect that the top 10-30 is already reasonably stable. But if one would choose a different calculation method, one would get a different list.


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## ORigel (May 7, 2020)

I like the last three symphonies, String Quartets 10, 12, and 13, The Water Goblin, The Cello Concerto, and the Dumky Trio (Dvorak at his melodic best).


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## Art Rock (Nov 28, 2009)

ORigel said:


> The Water Goblin


Yes, I should have include the tone poems in my list.


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## Bulldog (Nov 21, 2013)

Dvorak might be in my top ten, definitely top fifteen. Favorite areas are his chamber works, Cello Concerto, Rusalka and sacred choral works. The symphonies don't do much for me.


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## Simplicissimus (Feb 3, 2020)

I love Dvorak, always have. My favorites: String quartets and quintet, and Slavonic Dances Op. 46 and Op. 72. Although I cherish Dvorak, I think I take him a little bit for granted. There are parts of his oeuvre I need to get into more, like his earlier (pre-7) symphonies, tone poems, and operas.


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## mbhaub (Dec 2, 2016)

Dvorak is one the most amiable and lovable composers of all. He wrote beautiful, exciting music to entertain people. He didn't strive to send messages, didn't wallow is self-pity, avoided ugliness.

I've played symphonies 7, 8, 9, the Slavonic Dances (both sets), the violin and cello concertos, Carnival Overture, The Noonday Witch, and they're all fun to play - great bassoon parts. But the most fun, and most difficult, is the Serenade for Winds op. 44. I love that music!
As a conductor I've done symphonies 8 and 9 and some of the dances. There is nothing as rewarding to conduct as the 8th symphony. Thrilling music.


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## StDior (May 28, 2015)

Dvorak wrote masterpieces in more genres. I like more of them. However I have a clear towering favorite piece from Dvorak. It is the Rusalka.
This Peter Weigl opera film attached is simply brilliant imo, both the music and the film. My favorite part is from 59:49 to 1:07.10 (and the song to the moon aria of course). I recommend this excerpt for everybody who does not know this wonderful Dvorak work in order to get into mood to watch the whole opera.


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## ORigel (May 7, 2020)

mbhaub said:


> Dvorak is one the most amiable and lovable composers of all. He wrote beautiful, exciting music to entertain people. He didn't strive to send messages, didn't wallow is self-pity, avoided ugliness.
> 
> I've played symphonies 7, 8, 9, the Slavonic Dances (both sets), the violin and cello concertos, Carnival Overture, The Noonday Witch, and they're all fun to play - great bassoon parts. But the most fun, and most difficult, is the Serenade for Winds op. 44. I love that music!
> As a conductor I've done symphonies 8 and 9 and some of the dances. There is nothing as rewarding to conduct as the 8th symphony. Thrilling music.


I forgot to include the Slavonic Dances in my list!


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## Ethereality (Apr 6, 2019)

The following is meant as a (very casual) response to Art Rock's comment on the ranking subject.



Art Rock said:


> New compositions (some by new composers) are added frequently. Positions of works already in the list are shifted regularly. The main issue is HOW to come from a list ranking compositions in tiers to a list of composers. Couchie used his own idea about that, but one can think of many other ways to do it, each resulting in a different list. So, applying one calculation method consistently (e.g. Couchie's), I would expect that the top 10-30 is already reasonably stable. But if one would choose a different calculation method, one would get a different list.


At this time I actually think Couchie's 2nd list (with tier values) is the most accurate this forum has ever gotten. I agree with you that the tier-weighing method is still up for debate, but I'll explain why I think this is the best we have even though it seems _unconventional_ at first--While the first list (1/n) is a reasonable way to portray an educated 'forum favorites' from a piece list that is otherwise much less faulty than any particular survey I've seen. I was very enthralled with your own survey work by the way! However, these are my points at this time:

(A) An accurate representation _must_ involve the most active participation possible that we can manage. The more we can muster, the better. Unfortunately when you survey the forum for favorite composers, people are representing their favorite composers especially by the major pieces they love. This is in complete contrast to having a great collective knowledge of all the composers and their works, and then rating them. This is why a composer like Haydn is rightfully rated so highly: he doesn't need to have favorite works of members. His output of quality material is so vast and deep that the idea of what a great composer is, is changed, from one who has their limited recollection of favorite works they want to put in a survey, to an active collective knowledge of what a composer and all his life points and contributions are actually worth. The members of TC have done brilliantly with their collective opinions on works, although it can never approach perfect, it should only make us try to understand the great variety of what 'Top composer' actually means. It is a much more wide and complex assessment.

(B) The length of the work is fully represented by the tier it is in. While yes, less people listen to Wagner for a real reason of aesthetic preference, as well as length playing very honestly into why someone dislikes a composer's compositional philosophy ie. "he drags on too long to make the impression he desired me to have," a full-length opera nor the value of its composer can ever be rated by the collective forum according to its real totality, because certain members simply don't care to hear Wagner at large, and will rate him and his works according to their impression. This is unavoidable, but our aim at this point isn't to make a list more honest and objective than surveys such as yours, it is just to prove that in both scenarios this is unavoidable and too many people don't _enthrall_ at Wagner's long interpretations of what singular works should be, or at opera at large. Thus no forum poll can never be truly 'objective' in this way, according to some.

(C) Yes, we can weigh these piece tiers differently, hopefully we can resolve this issue with some standard equation. But why do I think List 2 of Couchie's is actually the very best I've seen? Not for personal reasons, and definitely not because it's a list people would collectively agree with or come to from a simple survey: this is actually why it's the best. It's because most people don't _know_ how to represent a composers entire worth, especially your average contributor, as most don't have the memory or the experience to quantify how they should really rank all the composers' entire output from all the good and bad mixed into the thousands of pieces that are registered here. Many people are polling an idea of their favorites from a current impression of a limited number pieces. Thus List 2 will actually seem off-putting to people because they don't realize what a composer has really done in entire collectivity, and outside the member's current recollection. How we've been able to rectify this, is not perfect in method however, far from it. X composer instead is rated so because they wrote 'total amount of great works and moments we are quantifying methodically', not a vague fuzzy notion that we expect to be well-memorized by many amateurs and possibly newbies. Humans can't do this kind of processing, except, we _have _a more thorough and methodical method. How we've been able to do it is by collecting the total values of composers every _bit by bit_, so we're able to much more accurately calculate all the worth that the typical human brain is incapable of mentally rectifying at one time. However once we know the results come from our own selves, we agree with the results: X composer is rated such because they wrote 'magnificent amount of works with different accepted values,' but we never should've been expected to individually memorize all this knowledge like a survey pretends we can do. *Final case and point: Humans can't individually pool a list of best composers, because most of them lack either the total knowledge or mental processing.* We have now been able to get around this problem, except there are still more problems. Here we have the best we can do thus far. The method is also done by the more actively-participating / listening part of the community, which is a bonus as it inductively suggests more knowledge.

Anyway, thought I would respond. I'm open to change my mind, but that would probably require some method that is far more advanced. I thank you Art Rock for taking your own forum survey and working on calculations. Your survey is truly awesome, I just want you to know, and thanks as well for giving Dvorak some good props! Wish I could thank your efforts as much as they deserve.


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## Hermastersvoice (Oct 15, 2018)

Dvorak is the most versatile of composers sine Mozart; 9 symphonies of which 6-9 are undeniable master pieces (#6 is my favorite), fab cello concerto (it needs muscle a la Rostropovich with Boult or Talich to last the course), beautiful violin concerto and piano concerto, piano trios of of an inspiration not heard since Haydn, amazing sacred music (Ancerl’s Requiem will bowl you over, and so will Smetacek in Stabat Mater and Mass), string quartets up there with Beethoven and Bartok, regrettably neglected output of songs (think Brahms) and piano pieces (highly original). Dimitrij, Rusalka and Armida are his 3 ‘Da Ponte’ operas, Devil and Kate his Zauberflöte ( but much more amusing, close to laugh-out-loud funny). I nearly missed the nearly-opera Spectre’s Bride, the culmination of the cantata form in western music. There is a wonderful recording under Krumbholc. In terms of musical development, the man was incapable of writing bad music, and since the first set of Slavonic Dances, there’s only master pieces. No, Dvorak isn’t just a nationalist Czech composer, he is probably the greatest since Beethoven. And I can’t think of a better tune smith. Perhaps with the exception of Mozart.


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## Allegro Con Brio (Jan 3, 2020)

A top 10 composer for me who I never grow tired of. I cannot imagine how anyone could possibly dislike his universally appealing, life-enhancing music, infused with the soulful lyricism, energy, and rusticity of Slavic culture. Tough to round his diverse output down to a top 5 favorites, but it would have to be:

Cello Concerto
Sym 7/8 (both equal in my mind)
Sym 9
Piano Quintet 2
Requiem (super underrated if a bit long)

But all the symphonic poems and short orchestral works (Scherzo Capriccioso, Slavonic Dances, and Carnival are some of my go-to classical dance music), string quartets, piano trios, symphonies, and violin concerto are pure delight.


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## Coach G (Apr 22, 2020)

Dvorak's Symphony #9 "New World" is one of my favorites. Arthur Fiedler who rarely stepped out of the realm of "pops" music made a surprisingly fine recording of it with the Boston Symphony. Of course, there's also the Cello Concerto, and the "Water Goblin" which is fairly new to me, and much more entertaining than the "Carnival Overture". I remember liking the Violin Concerto, and favor just about all of Dvorak's chamber music that I've heard. Rarely played and recorded is the _Four Romantic Pieces_ for violin and piano that I first heard on an LP I purchased back in the 1980s featuring Isaac Stern and Alexander Zakin. Though Stern did record another less sparkling rec of the same piece with another pianist that is now available on CD, the wonderful Stern/Zakin remains out-of-print.


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## Hermastersvoice (Oct 15, 2018)

As much as I am a big fan of Dvorak’s, I have to admit though that without a bit of grit his music seems at first very pleasurable but then you grow tired of it. This is when the music is played by souped-up international ensembles. In this manner, I used to love the cello concerto, but not on repeated listening. Likewise, Kondrashin with the 9th symphony - very pleasant but far off the depth of Brahms or Beethoven, not in the long run, anyway. You are seduced by the folksy element, the big tune, but it doesn’t stand up to scrutiny. That is if course until you realize that the Czechs themselves are masters of how this music should go. I mean, you haven’t discovered the 9th if you don’t know Ancerl (or Talich) and the Czech Philharmonic. The telling tale is how inferior Ancerl’s rendition with the Vienna Symphony is. Likewise with the 6th. Talich, Ancerl, Krumbholc, Chalabala, Sejna, know rhythmically how this music goes, and the qualities of their band makes one discover or rediscover this music. This isn’t just a question of the Czechs though. Boult and Rostropovich in the cello concerto also had the muscle to make this music engaging, the Clevelanders under Szell, the Bavaria Radio Orchestra under Kubelik. But there is a special quality to this music, that mainly the Czechs know to unearth; Suk, Moravec, Firkusny, Kvapil. 

There is also a way of killing it. This music is not Brahms with added folkloristic seductiveness. This music also asks the big questions (live, love, death etc). Generally I find Harnoncourt and Karajan the big killers here, though Karajan in his last recordings of the 8th and 9th had unearthed some of the inner voices of this music, the grit, while still keeping an eye on the structure. This is where Harnoncourt misses the point terribly; the Concertgebouw is an amazing band, they always play beautifully but the man had little idea of Fernhör.


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## Brahmsian Colors (Sep 16, 2016)

For me, Dvorak's music reflects an abundance of resplendent and endearing qualities---among them his joyous sentiments, love of nature and nostalgic musings. He's been one of my musical favorites for a long time. Of all his works, I'm especially enamored of the Eighth Symphony. Very satisfying also are his String Quintet, op. 97, Cello Concerto in B minor, op. 104, Symphonies 5, 7 and 9, as well as that little gem, Humoresque no. 7, op. 101. There are others, too numerous to mention....all wonderful pieces from the pen of a marvelous composer.


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## Olias (Nov 18, 2010)

Dvorak is "my" composer. I identify with his music more than any other. He proved that you didn't have to have inner demons in your mind to compose deep music. He proved that you can write to appease both the academic world and the popular tastes. He proved that an artist can be loved and appreciated during his lifetime. He proved that you didn't have to choose sides in the traditional vs innovative cultural war of the time. He proved that a man born into near poverty and little formal education could rise to the level of international fame, wealth, and success and still be a nice guy who projects humility and simplicity. I adore Dvorak's music and his outlook on life.


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## Hermastersvoice (Oct 15, 2018)

Olias said:


> Dvorak is "my" composer. I identify with his music more than any other.


I'm happy to find a kindred spirit in this forum. People traditionally identify Bach, Mozart and Beethoven as the 3 giants. I would have to add Dvorak to that company.


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## Hermastersvoice (Oct 15, 2018)

His operatic output and his religious music grossly under appreciated.


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## Hermastersvoice (Oct 15, 2018)

As is his piano trios and songs.


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## Hermastersvoice (Oct 15, 2018)

And the string quartets, - up there with Beethoven and Bartok.


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## Hermastersvoice (Oct 15, 2018)

Did I mention the piano music?. There is a wonderful box set with Kvapil on Supraphon.


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## Olias (Nov 18, 2010)

Hermastersvoice said:


> I'm happy to find a kindred spirit in this forum. People traditionally identify Bach, Mozart and Beethoven as the 3 giants. I would have to add Dvorak to that company.


Well, and I can't disagree with the 3 Immortals of Bach Mozart and Beethoven, but right underneath that trio is Dvorak along with Haydn, Brahms, and Schubert.

The thing about Dvorak is that he created more first rate works in more genres than any composer since Mozart.

Symphony - check
Concerto - check
Concert Overture - check
Tone Poem - check
String Quartets - check
Piano Trios - check
Piano Duets - check
Violin Sonata - check
Wind Serenade - check
Vocal Songs - check
Opera - check
Choral Music - check
Sacred Music - check

Or I guess I should say Czech.


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## Hermastersvoice (Oct 15, 2018)

Yes, and like Mozart he created a number of truly first rate works in the main categories of symphony, opera, concerto and string quartet. Nobody else (again apart from Mozart) was so successful in all the categories. The only problem with regards to recognition I can think of is that his operas are all (save for one) set in a small language, the Czech.


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## Ethereality (Apr 6, 2019)

Ethereality said:


> The following is meant as a (very casual) response to Art Rock's comment on the ranking subject.


My stance has slightly changed on this post, as I had an oversight while writing. The premise is still terrific, but I did notice the 2nd list (summing just the tier values) gives too much weight to repeat talent ie. a composer pushes out many similar works in their lifetime and their score goes up unfairly. So there seems to be an excellent equation to use. The idea is that we still need a good sample of works from a composer to register them as consistent in their skills, but not more than assuming they could easily repeat their skills to write more works. Something closer to 1/n is good, but I'm thinking the standard equation should exactly be: the order yielded that most correlates with the pattern of other favorite surveys but where outliers (like Haydn) are on the uptrend in favor of their output. Essentially we use a proximity to develop just the equation, but the actual data, the order of calculating all the different _works_, is still much more thorough, as it is a repetitious assessment of works and not a poll for information all at once, poorly assuming people have excellent memory and experience of a composer's totality. I covered the fact that repeated participation in these ranking surveys (ie. someone participating more than others) is an inductive evidence of greater experience, so while not a statistical proof every time, it is a very positive thing. In any case, Dvorak is seated somewhere around 9th place, as he cannot move much lower.


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## Gray Bean (May 13, 2020)

Symphony No. 7
Te Deum
Piano Concerto


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## Luchesi (Mar 15, 2013)

Jacqueline breaks a string at 29 minutes into the Concerto.

"A recently re-discovered recording of a concert held in tribute to the people of Czechoslovakia days after the Soviet Union invaded. Filmed live at the Royal Albert Hall in September 1968."


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## Gray Bean (May 13, 2020)

I must have been half asleep when I only posted three works earlier. I would add:
The tone poems and overtures
Much of the chamber music (esp. with piano)
Slavonic Dances
Stabat Mater
Cello Concerto
Violin Concerto
And, honestly, all nine of the symphonies which contain an embarrassment of riches. 

Unfortunately, I do not know the operas at all.


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## Heck148 (Oct 27, 2016)

Was just listening to Dvorak's wonderful Serenade for winds....this is a real mainstay of woodwind ensemble music....slightly expanded instrumentation from the traditional, classical 8tet - 3 horns, contrabassoon, cello and bass...
Another major work is his Symphonic Variations....big piece!!


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## Enthusiast (Mar 5, 2016)

There is plenty of good music in earlier Dvorak but he learned how to handle his material slowly. He was not like, say, Beethoven or Brahms both of whom matured and developed but produced fairly perfect works from the start. With Dvorak you can hear him learning his craft. So I love the 3rd and 4th symphonies but they are flawed. Many of their ideas are really great. From the 5th onwards, I feel I am listening to a mature composer and by the 7th a truly great one. The same is true of the concertos and the chamber music.


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## gvn (Dec 14, 2019)

Some mail-order websites have lists of "most popular works." I don't know how these lists were devised, but they look as if they reflect either numbers of clicks or numbers of purchases. In the list below, items in *boldface* are listed as Dv's "most popular" at Presto Classical, and items asterisked * (a more succinct list) at Arkiv Music. An asterisk in brackets thus (*) indicates that only _part_ of a work is listed as "most popular" at Arkiv Music.

The Dvořák works that I myself play most often are underlined. (Thus, an item underlined but neither boldface nor asterisked is an item that I often play but doesn't feature on either of the above "most popular" lists.)

OVERTURES
*My Home Overture, Op. 62 
Hussite Overture, Op. 67 
In Nature's Realm Overture, Op. 91 
*Carnival Overture, Op. 92 *
Othello Overture, Op. 93

SYMPHONIES
*Symphony No. 1 in C minor, B9 "The Bells of Zlonice" 
Symphony No. 2 in B flat major, Op. 4 
Symphony No. 3 in E flat major, Op. 10 
Symphony No. 4 in D minor, Op. 13 
Symphony No. 5 in F major, Op. 76 
Symphony No. 6 in D major, Op. 60 
*Symphony No. 7 in D minor, Op. 70 
*Symphony No. 8 in G major, Op. 88 
*Symphony No. 9 in E minor, Op. 95 "From the New World" *

SYMPHONIC POEMS
*The Water Goblin, Op. 107 
The Noon Witch, Op. 108 
The Golden Spinning Wheel, Op. 109 
The Wild Dove, Op. 110 *

CONCERTOS
*Piano Concerto in G minor, Op. 33 
Violin Concerto in A minor, Op. 53 
*Cello Concerto in B minor, Op. 104 *

ORCHESTRAL / PIANO 4 HANDS
*Legends, Op. 59 
Slavonic Dances Nos. 1-8, Op. 46 Nos. 1-8 
Slavonic Dances Nos. 9-16, Op. 72 Nos. 1-8 *

SERENADES
**Serenade for Strings in E major, Op. 22 
Serenade for Winds in D minor, Op. 44 *

OTHER ORCHESTRAL
*Czech Suite, Op. 39 
Slavonic Rhapsodies (3), Op. 45 
Symphonic Variations, Op. 78 *

CHAMBER MUSIC: STRINGS ONLY
String Sextet in A major, Op. 48
String Quintet No. 2 in G major, Op. 77
String Quintet No. 3 in E flat major, Op. 97 "American"
*Cypresses for string quartet, B152 
String Quartet No. 10 in E flat major, Op. 51 
*String Quartet No. 12 in F major, Op. 96 "American" 
String Quartet No. 13 in G major, Op. 106 
String Quartet No. 14 in A flat major, Op. 105 *

CHAMBER MUSIC WITH PIANO
*Piano Quintet in A major, Op. 81 *
Piano Trio No. 3 in F minor, Op. 65
*Piano Trio No. 4 in E minor, Op. 90 "Dumky" **
Mazurek for violin and piano, Op. 49 
Romantic Pieces (4) for violin and piano, Op. 75 *

SOLO PIANO
**Humoresque in G flat major, Op. 101 No. 7 *

SONGS
*(*)Gypsy Melodies (7), Op. 55 
Liebeslieder (8), Op. 83 
Biblical Songs (10), Op. 99 *

OPERAS
Dimitrij, Op. 64
Jakobín, Op. 84
Čert a Káča (The Devil and Kate), Op. 112
*(*)Rusalka, Op. 114 *
Armida, Op. 115

CHORAL MUSIC
*Stabat Mater, Op. 58 
Mass in D major, Op.86 
Requiem, Op. 89 
Te Deum, Op.103 *

Clearly I play more of the chamber music & operas than most people. (Yes, and if I were to add my "next most often played" Dvořák works, I'd add _more_ chamber music & _more_ operas.) And I simply can't hear the slightest difference in quality between Symphonies 5-9, or between the last five operas, or between the last four or five quartets. I've tried & tried, but my ears simply aren't discriminating enough to discern the defects that other people hear in them. I don't tend to discriminate between the Opp. 91-93 Overtures either; in fact, I almost always play the three as a set (almost an extra Dvořák symphony).

Looking at the above lists, I don't believe I play the Czech Suite often enough, or the Piano Concerto. Must remedy that.

On the other hand, I doubt whether Symphonies 1 & 2 are really among Dvořák's "most popular" works. I suspect they feature in the above statistics simply because so many of us buy symphonies in bulk sets.

If pressed with my back to the wall & absolutely forced to name the very _very_ best of Dvořák, I'd probably name the last five operas & the Requiem. They seem to me the works that are richest of all in substance, the most complex, the most all-encompassing.


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## HistoryJoe (Mar 12, 2019)

Heck148 said:


> Was just listening to Dvorak's wonderful Serenade for winds....this is a real mainstay of woodwind ensemble music....slightly expanded instrumentation from the traditional, classical 8tet - 3 horns, contrabassoon, cello and bass...


Big thanks to you and everyone who recommended this piece! Somehow it had slipped below my radar. What a delight


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## Animal the Drummer (Nov 14, 2015)

It's a fine work all right, but I'm slightly surprised that its companion for strings hasn't had a look in here yet. It was one of the first Dvorak pieces that grabbed me when I was a youngster still forming my likes and dislikes.


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## pianozach (May 21, 2018)

Just finished up a listen of Eugene Ormandy's *Dvorak Symphony No. 9.* with the London Symphony Orchestra

I swear, it never seems like 40 minutes. It's always "over already?"


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