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Donald Macleod sees Dvořák return to his homeland and undertake some new creative challenges.

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.

After a successful period living and working in the USA, Dvořák returned home to Bohemia and began looking for new creative outlets. He stepped away from writing symphonies, at this point, and turned instead to symphonic poems – orchestral works inspired by stories. What followed was a series of pieces with titles such as The Water Goblin, The Noon Witch, The Golden Spinning Wheel and The Wild Dove. Dvořák also returned to writing opera including his finest offering for the stage, Rusalka. Many honours now came to Dvořák. He was made a member of Vienna’s Society of the Friends of Music and also elected to be a member of the Austrian Hose of Lords.

Humoresque in G flat, Op 101 No 7
Moura Lympany, piano

The Water Goblin, Op 107
Royal Concertgebouw Orchestra
Nikolaus Harnoncourt

Song to the Moon, Op 114 (Rusalka) (1900)
Renée Fleming
London Symphony Orchestra
Georg Solti, conductor

String Quartet No 13 in G, Op 106 (excerpt)
Martinu Quartet

Produced by Luke Whitlock, for ´óÏó´«Ã½ Wales