The Dvořák Sale
Over 200 titles featuring the music of Antonín Dvořák are on sale now at ArkivMusic!
Composer Antonín Dvořák followed Smetana as the leading exponent of Czech musical nationalism, firmly within the Classical traditions of Central Europe. He composed nine symphonies — of which the best-known must be Symphony No 9, From the New World — as well as a variety of other orchestral works, chamber music, and more.
Discover his works with the following titles featuring the Vogler Quartett, the Czech Philharmonic, Gottinger Symphonieorchester, and more.
Shop the sale before it ends at 9:00am ET, Tuesday, June 23rd, 2026.
247 products
Bruckner, Dvorak, Puccini & Mahler: Ich leb’ allein in meinem Himmel - The Singer Gunther Groissbock
He makes you feel what it feels like to be alone at the top. Whoever sees and hears him suddenly knows more about the search for the right path that drives every serious person. His stage characters touch the heart. The bass Günther Groissböck embodies kings, scholars, philosophers in the great opera houses of the world; he plays priests, mythical creatures, gods. You could say he specializes in solitary figures.
At first glance, however, Günther Groissböck does not seem like someone who has personal experience with the subject of loneliness. The singer stands, works, acts on and off stage in intensive contact with people. He is married, father of a daughter, in the middle of life or, as conductor Philippe Jordan puts it: “He burns for many things in life, not only for art”. Can you play what you don’t know? How does he shape his stage characters? What are the building blocks for the play? When does the instrument, his voice, touch the audience? How much public spirit, how much individuality does an opera singer need today? And where does Günther Groissböck get the incredible energy he radiates on stage?
For two years we accompanied the artist from Waidhofen an der Ybbs (Lower Austria) with our camera, on night journeys and day trips. At rehearsals, sports, and performances. We filmed him as the black-robed Kaspar, as the powerful King Philip, or as a searcher in the villa of Richard Strauss. The result is a film portrait that tells of a special attitude to life; of loneliness as a source of artistic strength; of a man who can fill his voice with content from within. The film about Günther Groissböck tells of two lines from a Rückert poem, set to music by Gustav Mahler: “I live alone in my heaven, in my loving, in my song.”
Franz Liszt & Czech Music
Franz Liszt, musical genius and piano titan. When he first came to Prague in 1840, he heard and remembered Josef Theodor Krov's melody "Tešme se blahou nadejí", which was then misinterpreted as an old Hussite song. Franz Liszt, inspired by this song, has written the "Hussiten-Lied". Another Liszt’s composition you will find on this CD that is inspired by Czech/Slavic culture is "Slavimo slavno slaveni!". Naturally, Liszt left an indelible mark among Czech musicians, so you will also find Czech composers on this album.
Orchesterwerke von Antonin Dvorak
Scarlatti & Dvořák: Stabat Mater / Bestion, La tempête
Simon-Pierre Bestion has chosen to mirror two Stabat Mater that are more than 150 years apart: "in these two works I can feel the same tonal language, the same expression of sorrow" says the founder of La Tempête… "I have decided to ‘augment’ Scarlatti’s orchestration and ‘diminish’ Dvorák’s, so they can meet on even ground. To the Scarlatti I have added string parts sometimes doubling the vocal lines, colla parte, as was often done at the period: this not only allows the sound to be amplified, but adds an extra timbre to the voice. For the Dvorák, I have transcribed the original piano part into its minimum orchestral dimension, that is, for strings. This creates a common sound world between the two works – I would even say they have the same kind of lyricism in common, with just the timbres of the piano, organ and theorbo standing out."
Dvořák: Cello Concerto / Nelsova, Ricci, Susskind, St. Louis Symphony
Antonín Dvořák’s Cello Concerto is considered the finest of his concertos, and arguably the greatest of all such works for the cello. These Vox recordings from 1974 performed by Zara Nelsova in the Concerto, Silent Woods, and the Rondo, and Ruggiero Ricci in the Romance and Mazurek, with the St. Louis Symphony Orchestra conducted by Walter Susskind, are acclaimed classics.
REVIEW:
Zara Nelsova brings a rich, expansive tone to her warm, expressive account of the Cello Con certo’s solo part, and Susskind and his players are with her every step of the way. It is good to have the melodious Silent Woods and the spare Rondo in G minor on the program right after the concerto. Both are lovingly played here.
-- American Record Guide
Dvořák: Violin & Piano Concertos / Ricci, Firkušný, Susskind, St. Louis Symphony
Rudolf Firkušný was a great advocate for Dvořák’s Piano Concerto during his lifetime. He made several recordings of the work and this classic Vox recording from 1975 is still considered one of the best versions available. Ruggiero Ricci’s account of the Violin Concerto from 1974 is also an acclaimed classic.
Dvořák: 2 Serenades / Vavřínek, Mardirossian, Czech Chamber Philharmonic Orchestra Pardubice
New Czech recordings of perennially popular serenades from the pen of Dvorak at a turning point in his career, full of freshness, Bohemian charm and flowing melodies. The Serenades for Strings and Winds never get old, and never lose their appeal, especially in the hands of musicians who feel this music in their bones. The opening of the Serenade for Strings issues the warmest welcome to a world poised between the 18th and 19th centuries, looking back in terms of its reassuring character as music for nocturnal entertainment, yet also unmistakably belonging to the Czech composer’s own place and time – Prague, 1875 – with its Bohemian turn of harmony and yearning cantabile. Composed three years later as a counterpart, the Serenade for Winds marks a development in the composer’s technique – more elegant handling of counterpoint and melodic development – from the earlier work. At the same time, the Mozartian air of good-natured humour is even stronger. Both serenades relax into slow movements of poetry without pathos, and each of them was composed within less than a fortnight’s work, testifying to the inspiration felt by the composer as he worked at his material. The melodies seem to come, as Richard Strauss later said of himself, as easily as a cow giving milk.
The Czech Philharmonic Chamber Orchestra Pardubice has made several albums of Czech repertoire for Brilliant Classics and Piano Classics, most recently the neglected Piano Concerto of Dvorak (PCL10272), as well as the complete piano concertante works of Chopin with Ekaterina Litvinseva, and the Cello Concerto of Dvorak (95696). The recording was made under studio conditions in the orchestra’s home concert hall, yielding a warm, transparent sound which is ideally suited to these intimate pieces.
After Hours / Fauré Quartett
"After Hours" is the new concept album by the Faure Quartett. The world famous piano quartet consists of the same for members since íts founding in 1995. They present an album full of encores from composers such as Debussy, Strauss and Dvorak. These pieces are lined by original compositions dedicated to the ensemble by composer friends such as Jarkko Riihimaki. Two other friends, clarinettist Matthias Schorn and soprano Annette Dasch, make appearences as soloists. Encores defy the convention and have the potential to be surprising and engage the listeners in a special way and exactly that is what this album does.
Dvořák: Complete Symphonies, Vol. 6 / Inkinen, Deutsche Radio Philharmonie
In 1884, Antonín Dvořák undertook his first concert tour to England. This was to become a highlight of his career to date and brought him international recognition and economic security. It was a time of private and professional bliss. It is interesting to note, however, that the Seventh Symphony by no means reflects a consistently pastoral, idyllic atmosphere. On the contrary, the music often has a dramatic and sombre effect. It is possible that Dvorak was coming to terms with the blows of fate he had suffered: he had lost his mother and three children. Four years after the premiere of the Seventh Symphony, Dvorak set to work on his Eighth, which differed substantially from it. In the Seventh, he still adhered to the form of the classical symphony according to Beethoven, but here he gave preference to melody over form. It leads through the work, creating the impression of a “sequence of atmospheric poetic pictures.”
Finnish conductor Pietari Inkinen has been chief conductor of the Deutsche Radio Philharmonie since 2017 and Music Director of the KBS Symphony Orchestra in Seoul since 2022. He has conducted many renowned orchestras, including the Pittsburgh Symphony, the Royal Concertgebouw Orchestra, the Gewandhausorchester Leipzig, the Accademia Nazionale di Santa Cecilia, the Orchestre Philharmonique de Radio France, the Los Angeles Philharmonic Orchestra and the Helsinki Philharmonic Orchestra.
Dvořák: String Quartet No. 2 / Fine Arts Quartet
The stellar Fine Arts Quartet returns to Naxos with an album of Dvorák gems and surprises. The Second String Quartet is a fascinating example of early experimentation that would foreshadow the modernistic innovations of Schoenberg and his contemporaries. The Bagatelles are heard here in their original instrumentation featuring the harmonium.
REVIEW:
Did Antonín Dvořák suspect that his second string quartet was musically ahead of its time? Was he himself perhaps surprised, even shocked, by its harmonic boldness? Did he not yet feel confident enough as a composer? All of this could explain why the first private performance of the B flat major quartet did not take place until 63 years after it was written – in 1932 – from a reconstructed score. In the meantime, the quartet has been recorded more often than it has been heard in the concert hall.
In its complete recording, the Fine Arts Quartet has now also reached this second string quartet and places it in relation to the Bagatelles op. 47 and the Rondo op. 94.
In both works, the Fine Arts Quartet touchingly captures the Bohemian character, the folk song-like quality that is a basic element in Dvořák’s music. Lots of charm, a soft sound and supple bowing provide the necessary lightness and a slight smile behind the notes.
This grace can also be found in the string quartet – here, however, it comes across more as intimate passion, which is transformed into convincing expressivity through the daring harmonies. Despite the quasi-rhapsodic structure of the work, the Fine Arts Quartet never allows the songfulness of Dvořák’s music to be forgotten by finely differentiating the forward-looking harmonies so that the composition never becomes piecemeal. This also applies to the dance-like moments, which appear again and again and form an exciting symbiosis with Dvořák’s new ideas in this interpretation – in a quartet that also formally dispenses with classical structures.
-- Pizzicato (Guy Engels)
Dvořák: Complete Works for Violin & Orchestra / Pochekin, Raiskin, Slovak Philharmonic
"I sense a deep humanity in Dvorák's music. He was a great master of orchestration, and he composed unusually beautiful melodies and harmonies. But at the forefront he always presents honesty and generosity. And when we listen to this music, this penetrates deep into our hearts. I consider Dvorák's Violin Concerto to be unique, and it occupies a very special place among all of the violin concertos of this period. Behind its creation lies a very unusual story. The composition dates back to 1879, but its premiere did not take place until 1883, exactly four years later. The reason for this was that the concerto was dedicated to Joseph Joachim, who repeatedly requested a number of changes in the piece. The story subsequently ended in such a way that Joachim, despite the changes and his years of collaboration with Dvorák, ignored the piece when it was completed, leaving it to be premiered instead by Czech violinist František Ondrícek."
-Mikhail Pochekin
Dvořák: Slavonic Dances / Brauner, Prague Symphony
During the first year after its publication, selected Slavonic Dances were performed in Prague, New York, Boston, London, Berlin, Dresden, Hamburg, Cologne, Bonn, Nice, Graz, Lucerne, and other cities … Dvořák’s music is deeply engraved in the DNA of the Prague Symphony Orchestra, who have performed it under conductors of such renown as Jirí Belohlávek, Charles Mackerras, Václav Neumann, Tomáš Netopil, etc.
The new recording, made with Tomáš Brauner, the orchestra’s current music director, draws upon an illustrious interpretation tradition, with its rounded and transparent sound capturing the best qualities of the exquisite Art Nouveau Smetana Hall of the Municipal House in Prague. / Slavonic Dances with the Prague Symphony Orchestra – Dvorák in good hands
Dvorak: Piano Concerto; Mazurek; Rondo
Brahms: Double Concerto; Viotti: Violin Concerto No. 22 / Tetzlaff, Järvi, Deutsches Symphonie-Orchester Berlin
This album by violinist Christian Tetzlaff and cellist Tanja Tetzlaff, together with the Deutsches Symphonie-Orchester Berlin conducted by Paavo Järvi, is dedicated in the memory of their longtime artistic partner, pianist Lars Vogt (1970–2022). At the heart of this album is Brahms, one of Lars Vogt’s favorite composers, and his late orchestral masterpiece, the Double Concerto. Brahms himself had admired one of Viotti’s violin concertos so much that he included material from the violin concerto into his work. With Christian Tetzlaff’s recording of the violin concerto, this album finally brings these two works together. Also included is Dvorák’s beautiful Silent Woods for cello and orchestra, a work by another composer that was very close to Lars Vogt’s heart.
Sacred Music: From Bach to Bruckner / Herreweghe, Collegium Vocale Gent
Philippe Herreweghe and Collegium Vocale Gent have made a lasting impression on the Bach discography with their many recordings devoted to the Kantor. They have also explored other sacred repertoires by Beethoven, Haydn, Dvorák and Bruckner, to which they have brought all their excellence and sensitivity. Here they are together for the first time in a boxed set of 11 CDs.
Petit Bolero - Music for Trumpets, Percussion & Organ / Pfeiffer Trumpet Consort
Immortal themes and melodies in charming arrangements for brass, organ and timpani. Recorded in great church acoustics to a new and breathtaking sound experience.
Where Is My Beloved? / Siurina, Orbelian, Kaunas City Symphony
One of the leading sopranos of her generation, Ekaterina Siurina enjoys an international career that takes her to the top opera houses in Europe and America. Siurina’s thrilling renditions of famous arias on this recording bring new life to operatic favorites such as “Un bel di, vedremo” from Madama Butterfly, “In quelle trine morbide” from Manon Lescaut, and “Tatiana’s Letter Scene” from Eugene Onegin.
REVIEW:
She can surmount the vocal challenges of Madama Butterfly’s hopeful Un bel di, vedremo and the anguished Tu? Tu? Piccolo iddio! and she can also spin out a legato line to die for and she can cap the end of Senza Mamma with an ethereal pianissimo.
Ms. Siurina can do it all when it comes to the lyric soprano repertoire, be it the other-worldly Rusalka or the girlish Tatiana or the intact Amelia of Verdi’s Simon Boccanegra or the distraught Marguerita of Boito’s Mefistofele
It has been three years since I first heard Ekaterina Siurina in Amour Eternelle, her first album for DELOS. In this, her second album for DELOS, Siurina reinforces her great reputation, accompanied by the superb American conductor Constantine Orbelian, who leads the Kaunas City Symphony Orchestra offering minute by minute support to the soloist.
-- All About the Arts
Dvořák: The Complete Piano Trios / Jarušková, Jarušek, Giltburg
Piano Trio No. 4, “Dumky”, ranking among Antonín Dvořák’s most celebrated works, is one of the most frequently recorded chamber pieces in existence. After attending a performance, with the composer on the piano, Leoš Janáček summed up his impressions succinctly: “A new source of light has flashed.” When it comes to Piano Trio No. 3, the renowned Vienna-based critic Eduard Hanslick called it a gem, demonstrating that Dvořák was “one of the best modern masters”. Piano Trios No. 1 and 2, however, have been scarcely performed. In this light, the complete recording of Dvořák’s piano trios is a project richly deserving attention. All the more so due to the artists who have made it: Boris Giltburg, winner of the Queen Elisabeth Competition and one of the world’s most distinguished contemporary pianists, alongside Veronika Jarušková and Peter Jarušek, members of the globally celebrated Pavel Haas Quartet, who have earned great recognition for performing Dvořák’s music – Gramophone Recording of the Year (quartets) and Gramophone Chamber Award (quintets, together with Giltburg).
The three musicians featured on the album manifest an incredible chime. Possessing the uttermost technical brilliance, they breathe as one. The album was made at the studios in the picturesque Wye Valley, straddling the border between England and Wales, under the supervision of the legendary producer Andrew Keener while London was celebrating the coronation of Charles III. Exceptional moments for Dvořák’s exceptional music... Giltburg – Jarušková – Jarušek: A truly one-of-a-kind Dvořák festivity.
REVIEWS:
Make no mistake, this is Dvořák playing of the highest order and – even against some strong competition – these performances as a whole set a new benchmark in this marvellous quartet of works. Urgently recommended!
-- Europadisc
Happily, the present ensemble is equal to the demands of these fine works. The string players have a wealth of experience in the Czech repertoire as long-standing members of the celebrated Pavel Haas Quartet. Indeed, one of the most immediately striking aspects in these performances is the sheer beauty of the string sound. They are ably matched by pianist Boris Giltburg whose care over articulation and unfussy, nuanced playing is a constant delight. Among highlights, the conclusion of the development of the first movement of the B flat trio is quite magical and the entire F minor trio is powerfully focussed while resisting the hectoring tendency that mars even some committed renditions.”
-- BBC Music Magazine, November 2023
These performers bring out the rustic elements in this music; they connect with the childlike stargazers that we all are at heart, and that is a good part of Dvořák’s appeal. I suppose you could call it the ultimate in authentic performance, and that’s fine by me. Great sound, too (Wyastone Concert Hall, 2022 23, producer Andrew Keener). Strongly recommended.
-- Gramophone, Awards Issue 2023
The ‘Dumky’ trio is a delight here, as it should be; but I found myself drawn more to the others, enjoying the way they bring the folk rhythms and Dvorak’s lyrical gifts together, and the sense of effortless virtuosity and power Giltburg brings, even though a lot of the time he isn’t unleashing it.
-- BBC Radio 3, 30th September 2023
What a marvellous disc. Jaruskova and Jarusek of the Pavel Haas Quartet and the renowned pianist Giltburg are so at home in the four piano trios they might almost be tearing the freshly finished pages from Dvorak’s hands. Superbly recorded by Andrew Kenner, this is a total delight.
-- The Sunday Times, 8th October 2023
I found this disc an example of chamber musicianship at its best: the excellent sound engineering balances and blends parts, which underscores the ensemble’s successful delivery of Dvořák’s most sensitive nuances and extroverted peaks. Listening to all the selections in succession, we are treated to a vibrant experience indeed—but one in which the distinctive essence of each trio is aptly captured.
-- The Classic Review, October 2023
Hymne a l‘amour
With their new CD "Hymne à l'amour"; the Duo Minerva once again shows how exciting and multifaceted classical music can sound. Their arrangements; woven with great artistry; their virtuosity and their exceptionally emotional style of music-making breathe fresh life into often-heard works. With a great deal of playfulness; the well-rehearsed duo moves between the most diverse genres and combines classical masterpieces with contemporary avant-garde; folk music and a pinch of the as yet unheard on the subject of love - entirely in Duo Minerva style.
Dvorak: Symphonies Nos. 7, 8 & 9
In the 20th century Antonin Dvorak was essentially performed in what is now currently numbered as Symphony No. 9 which at the time was called Symphony No. 5; based on the old catalog numbering. However; it was the New World Symphony and except in rare cases; the previous symphonies were rarely recorded. However; at the end of the 1950s Barbirolli recorded the last three Symphonies; 7; 8; 9; with the new stereo technique; plus a selection of the Legends and the Scherzo capriccioso; an initiative that greatly contributed to broadening the Bohemian composer’s range of discography. These recordings; made from 1957 to 1959; are of excellent sound quality and are still considered among the best by the most demanding collectors; despite all the integral editions that followed in the following years. This 2-CD box set is a reissue of the old Urania catalog code WS 121.135; which has long been sold out and has always been reordered.
Dvořák: Great Composers in Words & Music
This latest release in the Great Composers in Words and Music series portrays Antonín Dvořák as a complex and wide-ranging composer, and explores the creation and performance of his music as well as its reception on both sides of the Atlantic, tracing his art in all its richness and variety. Musical excerpts include the Cello Concerto, the ‘New World’ Symphony and the Slavonic Dances, as well as selected chamber pieces, songs, opera excerpts and more.
Leonard Bernstein - 10 Album Classics
Sony Classical is pleased to present a special edition of Leonard Bernstein’s American Columbia recordings from the 1950s and 1960s. Some of the conductor-composer’s most celebrated interpretations and works are collected here on these carefully chosen 10 original albums on 11 CDs.
There is, of course, the still-astonishing album that launched Leonard Bernstein’s international reputation as the most dynamic and charismatic conductor of his era, Stravinsky’s Rite of Spring recorded in January 1958 – two months after his appointment as the youngest music director in the New York Philharmonic’s history. Reviewing a 2013 reissue, ClassicsToday.com declared: “It has an excitement, spontaneity, and primal fury that no other version quite matches.”
The Bernstein recording that launched the “Mahler Renaissance” in the 1960s is also here: his Third Symphony with the New York Philharmonic, which has arguably never been surpassed. And while we’re talking about Third Symphonies, Bernstein’s “Eroica” still sounds “wonderfully vibrant” (Gramophone) a half century after its first release. There is also his reading of Dvořák’s most popular symphony – “There’s no such thing as a ‘definitive’ recording [of the “New World”], but if there were, this one would come close to that imagined ideal” (ClassicsToday) – and two from Haydn’s magnificent “Paris” set: “It’s debatable whether there have been better performances” (ClassicalNet).
Bernstein himself conducts and plays Gershwin’s Rhapsody in Blue (“The one indispensable recording of this familiar work, paired with an equally fine American in Paris” – New York Times). Bernstein the pianist also accompanies Dietrich Fischer-Dieskau, at the peak of his matchless career, in an acclaimed album of Mahler lieder. The ballets Rodeo and Billy the Kid by Bernstein’s mentor and friend Aaron Copland are included: “Even the composer couldn't make [them] dance the way Bernstein does” (New York Times).
Bernstein the composer is also generously represented. The original Broadway cast recording of Candide from 1956 is included, as is the definitive version of his most famous work: the original Broadway cast recording of West Side Story from 1957.
The re-masterings in this new collection are the best ever issued of these thrilling recordings by one of the last century’s greatest musicians, selected from the Grammy® award-winning Leonard Bernstein – The Composer and the Leonard Bernstein – Remastered editions. Sony Classical’s new 11-CD Leonard Bernstein box set is the perfect introduction to the work of this American genius.
Past praise of previously released recordings included in this set:
Mahler: Symphony No. 3 / Lipton, Bernstein, NYP
This was the finest performance of Mahler’s Third when it was first issued back in 1962, and in some ways it has never been surpassed. Bernstein catches the riotous vulgarity of the first movement march music like no other conductor–not even his own digital remake reaches the level of sheer abandon he whips up here, and he also has the best of all fifth movements (bright and cheery, with dazzlingly prominent percussion).
-- ClassicsToday.com (10/10; David Hurwitz)
Dvořák: Symphony No. 9 / Bernstein, NYP
There’s no such thing as a “definitive” recording, but if there were, this one would come close to that imagined ideal. Its special qualities haven’t dimmed a bit in decades since it was recorded, and every interpretive decision comes across with the inevitability of fate itself. First, you get the first-movement exposition repeat (very unusual for its time), then there’s the very slow (but still very flowing) Largo, gorgeously played and far from the trudge-fest that Bernstein would make of for DG. The scherzo goes like the wind, the fastest ever, and the finale offers simply the last word in excitement. If you don’t own this performance in some form, then you don’t know the “New World”.
-- ClassicsToday.com (10/10; David Hurwitz)
Karl Böhm - The SWR Recordings
The lasting fame of conductor Karl Böhm is based on qualities that were praised by listeners, musicians and critics throughout his long career: his discipline and meticulousness when rehearsing compositions as well as his modesty, his willingness to take second place to work and composer. After many years serving as principal conductor in several opera houses he left his administrative duties behind and embarked on an international career as an acclaimed guest, concert and opera conductor. He was regularly invited by the New York Met and the Deutsche Oper Berlin, to the festivals in Salzburg (as of 1938) and Bayreuth (as of 1962), he gave guest performances from Tokyo to Moscow, from Milan to Buenos Aires, and at the broadcasting corporations in Berlin, Munich, Cologne, Frankfurt and Stuttgart where he was invited whenever there was something important to celebrate.
The Radio Sinfonieorchester Stuttgart (formerly known under a few different names and since 2016 merged with its sister from Baden-Baden and Freiburg to form the SWR Symphonieorchester) not only played in its home region, the Southwest of Germany, but toured extensively all over Europe. It has a catalogue of several hundreds of recordings and accompanied during its history many famous soloists. Branka Musulin was an extraordinary pianist who worked with some of the most important conductors of her time, among them Willem Mengelberg, Hermann Abendroth, Franz Konwitschny, Georg Solti and Sergiu Celibidache.
Rudolf Kempe at the Proms, 1972: Strauss, Beethoven, Dvořák / Munich Philharmonic
Rudolf Kempe (1910–1976) was born near Dresden and in 1930 joined the celebrated Leipzig Gewandhaus Orchestra as first oboe. After his debut as a conductor in 1935, he joined the German army in 1942 but was ‘retired’ the same year and went back to conducting. A large number of engagements followed after the War, at the Saxon State Opera, the Dresden Staatskapelle, and as music director of the Bavarian State Opera (1952–1954). Kempe opened the 1951 season at the Vienna State Opera, and appeared at Covent Garden in 1953 (conducting Strauss with enormous success), and later at the Metropolitan Opera in New York in 1955.
He declined to become Covent Garden’s director twice but remained a regular and much-admired conductor at Covent Garden and on the concert platform both in London and on the Continent. He became chief conductor of the Royal Philharmonic Orchestra (1961–1975) and the BBC Symphony Orchestra in 1975 until his untimely death in 1976. In Europe, he became chief conductor of the Zürich Tonhalle Orchestra in 1965 and in 1966, general music director of the Munich Philharmonic Orchestra.
Dvořák: Works for Cello & Orchestra / Dindo, Rustioni, Orchestra della Toscana
The Czech composer Antonín Dvořák was gaining international fame during the latter part of the 19th century for a string of highly successful and popular works across many genres. His Cello Concerto was premiered in London in 1896 – its symphonic character and wonderful melodic invention made the concerto one of his most beloved and frequently performed works. The Rondo, Op. 94 owes its Slavic nature to the popular melody on which it is based, while the enchanting Silent Woods and soulful Laßt mich allein! are both arrangements from previous works. The pieces on this album are performed by the award-winning cellist Enrico Dindo – praised by Rostropovich for an extraordinary sound that ‘flows as a splendid Italian voice’.
