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uncle, with whom he lived while passing through the higher-grade classes at school. Here, too, he was fortunate enough to find a valuable friend in A. Liehmann, organist and See also:

CHIEF (from Fr. chef, head, Lat. caput)

chief musician of the little See also:

TOWN

town, a competent musician, who instructed the boy in elementary theory, See also:

ORGAN

organ and See also:

PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte playing. The theory studies, however, could not See also:

long be continued, since Liehmann soon acknowledged in his own See also:

DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect that the boy was extraordinarily full of promise (" Aus Tonda, dem Sappermentsbuben 'mal 'was See also:

WERDEN

werden konnte "), at the same See also:

time realizing that he could not do much to assist. But Dvorak soon See also:

LEFT

left Zlonic for Bohmisch-Kamnitz, where he learnt See also:

German and advanced his musical studies under Hancke. A See also:

YEAR

year later he was summoned to return to Zlonic to assist his father, who had set up in business there. But his craving for a musical career was not to be checked, and after considerable trouble with his father consent was obtained to his settling in See also:

PRAGUE (Ger. Prag; Bohemian Praha)

Prague in See also:

order to devote himself entirely to See also:

MUSIC

music. In See also:

OCTOBER

October 1857 Dvorak entered the organ-school of the Gesellschaft der Kirchenmusik, where he worked for three years. The small See also:

FINANCIAL

financial aid his father was at first able to lend soon ceased, and after being in Prague but a few months Dvofak found himself practically thrown on his own resources.

By playing the See also:

VIOLA [Fr. viole, Ger. Bratsche, Ital. viola, alto]

viola in a private See also:

ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra and in various inns of the town he succeeded in obtaining a See also:

PRECARIOUS

precarious livelihood. On the opening in 1862 of the Bohemian Interimstheater, Dvorak, with See also:

PART

part of this See also:

BAND

band, formed the See also:

NUCLEUS (Lat. for the kernal of a nut, nux, the stone of fruit)

nucleus of the theatrical orchestra, and remained connected with it for eleven years, when he became organist of the church of St See also:

Adalbert. At this time his small See also:

STIPEND

stipend was augmented slightly by the fees of a few pupils, though the privations suffered by him and his wife (for he had recently married) must have been See also:

GREAT

great. But in spite of financial worry and of the amount of time he had to devote to his professional duties and private pupils, Dvorak found leisure not only for his own studies of the See also:

CLASSICS

classics, but also to compose. His See also:

WORK

work, like his daily See also:

LIFE

life, was beset with difficulties, for he had not the means to provide himself with sufficient music-See also:

paper, much less to hire a pianoforte; and it is possible that several of his important See also:

early See also:

WORKS

works would never have been written had it not been for the generosity of Karel See also:

BENDL, KAREL

Bendl, the composer, who helped him in many ways. Dvorak himself said afterwards that he retained no recollection of much that he then composed. In and about 1864 two symphonies, a See also:

HOST

host of songs, some chamber-music, and an entire See also:

OPERA (Italian for " work ")

opera, See also:

ALFRED

Alfred, See also:

lay unheard in his See also:

DESK (from Lat. discus, quoit, in med. sense of " table," cf. " dish " and Ger. Tisch, table, from same source)

desk. The libretto of this opera was made up from materials found in an old almanack. Most of these works were burnt long ago. In 1873 he made hisfirst bid for popularity by his patriotic hymn See also:

Die Erben See also:

des weissen Berges (published many years later as Op. 30). Its reception was enthusiastic, and Dvorak's subsequent works were eagerly awaited and warmly received on See also:

PRODUCTION (Lat. productionem, from producere, to pro-duce)

production.

In 1874 his opera See also:

KONIG, KARL RUDOLPH (1832-1901)

Konig and Kohler resulted in a fiasco at Prague, owing to its mixture of styles. Nothing daunted, Dvofak recomposed the whole work in three months. In 1875, on the recommendation of See also:

BRAHMS, JOHANNES (1833–1897)

Brahms and Hanslick, he obtained a stipend from the Kultus-Ministerium at See also:

Vienna, which freed him from care and enabled him to indulge in See also:

composition to his See also:

heart's content. Following on this success came a See also:

COMMISSION (from Lat. commissio, committere)

commission in 1877 for a See also:

SERIES (a Latin word from serere, to join)

series of Slavic dances, which took the public by See also:

storm. Immediately compositions, old and new, began to pour from the publisher. See also:

ENGLISH

English sympathy was entirely won by the Stabat Mater in 1883, and increased by the symphonies in D, D mi., and F, G, and E mi. (The See also:

AMERICAN

American), and the See also:

CANTATA (Italian for a song or story set to music)

cantata The Spectre's See also:

BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride, based on K. J. Erben's elaboration of the Bohemian version of the See also:

SAGA (literally a story committed to writing)

saga treated in See also:

BURGER, GOTTFRIED AUGUST (1748-1794)

Burger's Leonore. The favourable effect produced by these works was somewhat chilled by the See also:

ORATORIO

oratorio St Ludmila, a comparatively feeble work written " to suit English See also:

TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste " for the See also:

Leeds Festival of 1886. The three overtures Opp. 91, 92, 93, failed to hold their place, but the pseudo-American See also:

SYMPHONY

symphony has become one of Dvoiak's most popular works, and much of his chamber-music, of which there is abundance, seems quite permanent in its place in See also:

CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert programmes.

In 1892, after having frequently visited See also:

England, Dvorak became See also:

head of the See also:

NATIONAL

National Conservatory of Music of See also:

AMERICA

America in New See also:

York. There he remained till 1895, when he returned to Prague, where he died on the 1st of May 1904. Dvorak's music is characteristically national, though less purely so than that of See also:

SMETANA, FRIEDRICH (1824-1884)

Smetana. But in spite of his See also:

INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry and dramatic See also:

TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent not one of his operas has been really successful. A See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the orchestra and a composer of real individuality, he earned and deserved his place among the elect, not only by his great gifts, but by his abnormal See also:

ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy in their development. See W. H. Hadow, Studies in See also:

MODERN

Modern Music (second series, 1908).

End of Article: DVORAK, ANTON (1841-1904)

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