Antonin Dvorak: biography, interesting facts, work

Antonin Dvorak

The great son of the Czech people - so compatriots lovingly call Antonin Dvorak - a wonderful composer, one of the founders of the national school of composition. He is considered one of the most famous Czechs of all time, since Dvorzak’s composer talent was appreciated not only in Europe, but also across the ocean, even during his lifetime. The works of the composer, in which he combined classical traditions and distinctive features of Russian music, were valued all over the world, because his musical inventiveness is as rich as the beauty of his melodies is unique.

A brief biography of Antonin Dvorak and many interesting facts about the composer can be found on our page.

Short biography of Dvorak

September 8, 1841 in a small Czech village, located near the famous Nelahozeves castle, a boy was born, who was affectionately called by all Tonychek, because he was named Antonin Leopold. The father of the baby František Dvorak had a tavern, but, besides that, in his free time he would play the zither with great pleasure.

As soon as the boy grew older, the father, following family traditions, began to attract him to his work, although his son was more drawn to musical instruments. When Tonky was six years old, his parents identified him in school, where he studied not only reading and writing, but also the basics of musical literacy. The first music teacher of the boy was the church cantor Joseph Spitz, under whose leadership Toníček began to master the violin, and after two years he could not only amuse the guests of his father’s tavern, but also perform solo during church services.

At the age of nine, after graduating from a two-year village school, the boy was sent to the town of Zlonitsy to learn the craft of a butcher. In addition, the uncle, who sheltered his nephew, identified Tonchka to learn German in a special class of the local school, in which the cantor of the local church, Antonin Liman, taught. Noticing unusual musical abilities, the teacher began to teach the gifted young man to play the piano and organ. Working hard and torn between work at the slaughter and music classes, Antonin in 1856 received a document that testified that he could work as an apprentice. However, the father, who along with the whole family moved to permanent residence in Zlonitsy, sent his son to continue his education, first in the Czech Kamenetz, and then in the organ school of Prague. At first, Antonin dreamed of serving as an organist in some church, but later, having become acquainted with the works of great composers, he realized that his mission was creativity. Under the guidance of teachers, the future composer comprehended harmony, counterpoint, studied the construction of preludes and fugues. In addition, the young man constantly honed his mastery of playing the violin, and then mastered viola.

The beginning of a creative career

After graduating from school, Dvorak did not wait for the organist’s place in the village church, but decided to stay in Prague. In order to somehow earn a living, Antonin in 1859 had to work as a violist in the Karel Komzak Chapel. However, in 1862 he began working in the orchestra of the newly built Prague "Provisional Theater", whose musical group in 1866 was headed by the distinguished Berjich Smetana. It was a good school for a novice composer, since the repertoire of the orchestra contained symphonic works by Wagner, Berlioz, Liszt, as well as the operas by Weber, Moniuszko, Glinka, Smetana, Meyerbeer. Working in the orchestra did not bring much money, and the young man constantly had to look for some kind of part-time job. He gave private lessons, and sometimes replaced the organist in a mental hospital.

During this period, Dvorak composed a lot, trying himself in many genres. However, the demanding author, dissatisfied with the written works, very often simply destroyed them. However, in the early summer of 1871, residents of Prague in one of the newspapers read a note that the theater intends to stage the opera King and the Charcoal Artist, which was written by a promising young composer and musician of the Czech Theater Orchestra, Antonin Dvořák. The author of this article was L. Procházky, a well-known musical figure who actively supported the revival of national Czech art, and later patronized Dvořák for many years, promoting his works, and then noting their successful performance in laudatory articles. Inspired by this message, Dvorak immediately went to the administration of the orchestra and wrote a letter of resignation, intending to devote his further life only to musical composing. While waiting for his opera in the theater, the composer, on the advice of L. Prochazka, wrote several songs on poems by Czech poets, whose successful performance brought Dvorak only great fame, but not financial well-being. The money he received from private lessons was barely enough to make ends meet. With the production of the opera in the theater, too, nothing happened, he even fell into creative despondency, but the composer had a personal life.

At the end of 1873, Antonin married the daughter of a jeweler, Anna Chermakova, and in order to provide for a rapidly expanding family, Dvorzhak had to become an organist at the church of St. Vojtěch. However, the financial situation, which was still very deplorable, forced the composer to appeal to the government authorities with a request to grant him a scholarship issued to support poor but talented poets, artists and musicians. Dvorak presented two symphonies (No. 3 and No. 4), as well as some of his chamber works, to the commission’s commission, which included the eminent German composer I. Brahms. The jury members unanimously approved Dvorak's candidacy for the benefit, which he then deservedly received for five years. It gave him the opportunity to create fruitfully in difficult years for him.

Years of recognition

In 1874, on November 24, the long-awaited premiere of "The King and the Carpenter" took place on the stage of the opera house. Inspired by this victory, the composer continues to constantly create. His operas appear one after another: "The Stubborn People", "Wanda" and "The Cunning Peasant", as well as chamber works, including the famous "Moravian Duets" written by Dvořák at the request of the successful entrepreneur and music lover Jan Neff, who then even helped them print, agreeing with the publisher. "Moravian duets" subsequently played a significant role in Dvorak's creative career, as they were appreciated by I. Brahms, who had a very big influence in the musical world of that time.

According to Dvorak's biography, in the same period, fate prepared a very cruel test for the composer: one after another, all three of his young children pass away. The grief so suppressed Antonina, that now in his works only longing and grief were heard. Thaw in the soul of the composer came in early 1878. On the strong recommendation of J. Brahms, the Berlin publisher Fritz Zimrock published the "Moravian Duets" with the text in German. The collection was sold so quickly that after some time another edition was released in German, English and Czech. After a while, Dvorak's friends began persistently to persuade to arrange a concert in which only his works would sound. The composer set to work again with high spirits, especially since family life was marked by a joyful event: his wife presented him with a daughter. On top of that, F. Zimrock ordered Dvorak to write Slavic Dances, simple pieces for home music. After the publication of these works, an article by a well-known German music critic L. Elert appeared in a popular Berlin newspaper, in which he so praised the talented composer that music lovers attacked music stores, and the owners of various publishing houses filled the composer with orders. After some time, the Prague newspapers also published a review of the German critic on the works of Dvorak. Such an unusual advertisement had such an effect on the residents of the Czech capital that the concert hall, in which the composer conducted his works, was completely filled and the concert passed with overwhelming success. After such a grand event in the cultural life of Prague, Dvorak was elected a member of the Prague Art Club "Umeletskaya Talka", which included writers, artists and composers. A little later, the composer was offered to head the music section of this association, and his duties now included membership in a jury of various music competitions.

Dvorak's popularity quickly gained momentum. His works were included in the program of each concert held in Prague, and publishing companies offered increased fees for the composer’s works. For "Serenade" for wind instruments, three "Rhapsodies" and "Baubles" F. Zimrok paid 1,700 marks to Dvorak (he never even held such money in his hands). Large German publishers fought for each of his works. The glory of Dvorak thundered throughout Europe. His works were performed by all the famous European symphony orchestras. Now the composer often traveled abroad, met new people, and, nevertheless, continued to work a lot.

In 1884, Dvorak was invited to England for the first time, where a warm welcome awaited him, and London newspapers admired how a former butcher could write such beautiful music. The year 1888 in the composer’s life was marked by a meeting with an outstanding PI. Tchaikovsky and the subsequent successful tour in Russia. Moscow newspapers enthusiastically praised Dvorak, calling him "Czech Brahms." In 1890, upon returning home, Dvorak learned that he was elected a member of the Czech Academy of Sciences and Arts, and the University of Prague honored him with the honorary title “Doctor of Music”. However, there came a slight embarrassment, because there was no such title in the universities of the Austrian state, after a year, Dvorak was awarded the title of honorary doctor of philosophy. The management of the conservatory decided to invite Dvorak to the post of professor in the composition class, which he should start performing from the beginning of 1891. At first, the composer was very dissatisfied with such an appointment, but then he became so involved that this work brought him pleasure, and instead of one fixed hour he sat with the students for three and sometimes four hours, thus violating the conservatory schedule.

In 1892, a new stage began in the composer’s life, which he spent in America, fulfilling the duties of director of the National Conservatory in New York.

Last years

In the spring of 1895, Dvorak returned home with his family. In the fall, he again began teaching at the Prague Conservatory, and at the first opportunity he visited Brahms in Vienna. Then a month later there was another trip to the Austrian capital, the first performance of his ninth symphony took place there. And then the last ninth visit to England, to the premiere of the cello concert. Dvorak's life was a familiar one: he studied with students, spent the summer in nature and, as usual, composed a lot.

In the spring of 1897, Dvorak again twice visited Vienna: the first time to visit the sick Brahms, and the second time to say goodbye to his beloved composer, who was his patron and devoted friend. After the death of Brahms, Dvorak’s work increased significantly, since now the Austrian government appointed him to the commission for awarding scholarships to young talents, and he had to devote a lot of time to viewing their creations. In 1900, the composer hardly persuaded to take the post of director of the Conservatory, and in 1901 the whole of the Czech Republic pompously celebrated the 60th anniversary of the man who glorified their small country to the whole world. Having barely finished the opera Armida, which, unfortunately, became his last work, Dvorak felt ill at the end of April 1904, and on May 1 the great composer passed away.

Interesting facts about Dvorak

• At present, the house in Nelahozeves, in which the great Czech composer was born and spent his childhood, is rented by the state from the owners for a conditional fee of one crown per year: the Museum of Czech Music is located there.
• The Austrian government decided to encourage Antonin Dvorak, appointing him a permanent member of the Upper House of Parliament. The composer arrived at the court, took the oath and took part in the first meeting for him. He no longer appeared there, despite any persuasion.

• Johannes Brahms was so good at Dvorak that by the end of his life, when he became completely unsociable, he wanted his Czech friend to be always with him. He offered Antonin a good job in Vienna and financial support.
• When Antonin Dvorzhak arrived in London, he was struck by the swing of the British. For the performance of his "Stabat Mater" in the prestigious concert hall "Albert Hall", accommodating up to nine thousand spectators, the organizers involved a choir of 840 people, a large orchestra and a grandiose organ.
• Antonin Dvořák was a very prolific composer. Having barely finished one of his creations, he started a new one and was always offended that he lacked titles for works: all other composers took apart all the poetic and original names, especially on this occasion Dvorak took offense at Schumann.
• The inhabitants of Prague had great respect for Dvorak and were very proud that the Czech people had a son who glorified their country. For example, the owner of the house, in which the composer, along with his family, rented a house, did not allow anyone else from the tenants, except Dvorak, to have musical instruments so that no one would prevent the composer from creating his works. If Dvorak didn’t play, then silence must reign everywhere — the composer is resting.
• Antonin Dvořák was so picky about himself that he reworked his opera King and the Collier three times. Writing it in 1871, three years later he rewrote it almost completely, and then in 1887 made changes to the libretto, which led to a change in the musical material. In 1990, the composer again wanted to edit this work and rewrite the musical score, but, in the end, it still left this idea. Exactly the same fate befell the opera of the composer "Dimitri".
• Dvorak's long-suffering Opera "The King and the Collier" was staged several times in the Prague Theater, but in other countries it was never heard.

• The composer dedicated his famous "Moravian duets" to Jan and Maria Neff, at whose request they were written. Later, Jan Neff, who assisted in the publication of this Dvorak creation, ordered several copies to be beautifully woven, and then with accompanying letters in which he forged Dvorak's signature, sent them to J. Brahms and other authoritative artists. After some time, the composer received a letter with gratitude from the well-known Austrian music critic and musicologist E. Hanslick. Dvorak's perplexity knew no bounds, because he did not send anything.
• Antonin Dvořák was very picky about himself as a composer and constantly sent his own, as he thought, not enough successful works to “reference”, and when he returned them from there, he corrected something and gave it to the publisher. Thus, the symphony No. 5, written in 1875, was first performed in 1879, and then lay in a pile of papers for eight years. In 1887, the author remembered it, got it, corrected something and put it in print. Since the publisher recently published a symphony of the composer number 6 at number one, and a symphony number 7 at number two, then the symphony number 5 put the number three, despite the fact that the composer wrote it much earlier. That was such a confusion.
• Dvorak was a great patriot of his country, but he never spoke loudly about it. However, he refused to write an opera on the German text and was very indignant when in England on the billboard he saw his name printed in the German manner - Anton. The composer demanded that the concert organizers immediately remake the posters.
• The universal recognition of the work of Antonin Dvorak was constantly deservedly marked by government awards and various honorary titles. He was the owner of the Order of the Iron Crown, III degree and the medal "For literature and art", and also received honorary titles as a member of the Czech Academy of Sciences and Arts, the London Philharmonic Society and the Vienna Society of Music Friends. In addition, the composer became a doctor of music in Prague and a doctor at Cambridge University.

• From the biography of Dvorak we learn that the composer suffered from agarophobia (fear of open space), which he constantly progressed. В последние годы своей жизни он настолько боялся широких площадей и скоплений народа, что выходил на улицу только в сопровождении родных или друзей.
• Композитор с пристрастием относился к двум вещам - голубям и паровозам. В своём летнем доме он велел построить голубятню, а во время прогулок по Праге обязательно прокладывал свой маршрут через вокзал. Он знал наизусть номера паровозов и имена машинистов.
• The largest museum of Antonin Dvorak is located in the capital of the Czech Republic in one of the most beautiful buildings: the palace, built in the Baroque style, which the Prague people call "America". The museum has a wonderful collection of things and documents belonging to the composer and telling about his life and work.
• The name Dvorak is an asteroid and one of the craters on the planet Mercury.

Creativity Antonin Dvorak

Antonin Dvořák is a composer who left a great creative heritage to his descendants. He actually created one work after another and constantly complained that his hands did not have time to write down his thoughts. The works of the composer, captivating amazing melody, are based on the rhythmic and intonational features of Czech folk music, but at the same time they have incorporated elements of Viennese classics and romanticism. The compositions of Dvorak are distinguished by emotional expressiveness, colorful instrumentation, rhythmic and harmonic diversity, as well as clarity of musical thinking. A lot of the composer’s works are characterized by cheerfulness and humor, but, besides this, they captivate with extraordinarily warm and gentle lyrics.

Dvorak's creative activity is amazing: he is the author of a large number of works of various genres. His symphonic, choral and chamber works are particularly prominent, because they are the most valuable contribution of the composer to the treasury of world music. This cannot be said about Dvorak's operatic work, which includes ten works. Some critics consider this genre to be the only not conquered genius of the composer, although his penultimate opera "Mermaid" has become a recognized masterpiece and does not descend from the scenes of many theaters in the world. It should be noted Dvorak's symphonic work, it is very diverse and includes, firstly, nine symphonies (the latter, called “From the New World”, is included in the repertoire of many orchestras in the world and is one of the composer’s most performed orchestral works) second, besides symphonies in this genre, Dvorak composed poems, overtures, concert orchestral works, such as Slavic Dances, Carnival and Slavic Rhapsodies, as well as instrumental concertos for violin, piano and cello.

Dvorak devoted much attention in his work to choral and vocal music. He wrote five cantatas and the oratorio "Saint Ludmila". Many of his works of this genre, such as "Requiem", "Psalm 149" and "Mecca" D-dur were at one time quite popular, but the best examples of choral music of the 19th century are now considered "Stabat Mater" and " Te deum. " From Dvorak's vocal music, the cycle “Moravian Duets”, which played an important role in the composer’s creative biography, the cycle “Cypresses”, which he revised several times, making new versions, and as a result, the entire musical world today knows eight songs called “Songs of love. " As well as several works for voice and organ, for example: "Ave Maria "and" Hymn to the Holy Trinity ".

A special place in the work of Dvorak was occupied by the composition of chamber music, since it was there that he honed his composer's skill. These are string trios, quartets, quintets and sextet, piano trios and quintets. In addition, the composer has quite a few pieces for piano, as well as for violin and cello and piano accompaniment.

Dvorak and America

When Dvorak was invited for the first time to visit the American continent, he immediately refused, as he was a man who did not like to change places. But suddenly a telegram came from across the ocean inviting me to head the National Conservatory in New York. Despite the fact that the composer's refusal was immediately followed, the school administration sent another message after the first one, in which such financial conditions were offered that Dvorak began to think, because with such money it was possible not only to learn children, but also to secure old age . As a result, he agreed, said goodbye to his family, crossed the ocean, and on October 1, 1892, he assumed his duties.

The task of Dvorak was not only to organize the work of the newly created conservatory correctly and to teach students skills, but also to assist in creating a highly artistic national distinctive musical culture. Establishing the learning process was not difficult, the staff was staffed from 50 experienced teachers, and the students were fairly disciplined, and some of them had outstanding talents. Worse things were with the music, which should have a national American flavor. Dvorak put a lot of effort to figure out what its sources should be. He forced black students to sing Negro songs to him, meeting with the Indians, and asked them to depict their folk music. The composer thought what kind of music an American should hear in order to remind him of his own home. However, Dvorak could not find the answer to this question, although the newspapers began to make a stir about what the composer considers the basis of American music to be the melodies of black slaves.

The discussion in the press soon moved from the musical to the political sphere. The white population of the United States did not allow the advantage of either Indians or blacks, even in the field of art. During such polemics, everyone with great interest awaited the performance of a new symphony, which the composer wrote in full in America. Dvorak himself was very upset, if the premiere fails, his American career will come to an end, and all that he managed to do for the conservatory will be lost, and besides, the composer’s reputation will be shaken. In such a nervous state, the composer could not go on vacation to his homeland, but he missed his family very much, asked his relative to help bring his wife and children to America. Fortunately, the premiere performance of the symphony was a stunning success, about which all the New York newspapers screamed the next morning, while arguing passionately whether the music was “American” or not. Dvorak in America has become a very popular person, but this did not bring joy: the composer was very homesick.

Personal life of Antonin Dvorak

Antonin Dvořák was always known as a very modest man. In his youth, he was closed, always immersed in work and avoided the society of women. His relatives were very worried that he would never start his own family, but a miracle happened, the young man fell in love. The chosen one of Antonio was a young, black-eyed, pretty young Josefina Chermakova - the daughter of a Prague jeweler, and besides, an actress of the drama troupe of the Provisional Theater. It all started with the fact that Dvorak was invited to the house of Chermak as a piano teacher for the jeweler's daughters: the elder Josephine and the younger Anna. At first, Antonin was glad that he had the opportunity to earn some money, but he himself did not notice how he fell in love with the charming rezuschka Yozefina. Unfortunately, the charming coquette did not respond to the feelings of the young man and later married the count Votslav Kounik. He expressed all his experiences from unrequited love in the vocal cycle Cypresses. Some time passed and Antonin again met the girl with whom he made the offer. It was the daughter of his colleague in the orchestra - Anna Mateikova. But again, rejection and disappointment.

Meanwhile, the younger sister of Josephine, Anna, grew up and turned into a lovely girl who began to pay special attention to her teacher. She had a sweet temper, had a beautiful contralto and played the piano perfectly. Such a girl could not be better suited to the novice composer's wives. Dvorak's biography states that the wedding took place on November 17, 1873, and in April of the following year, the young couple had their first child, who was named Otakar. The family grew rapidly: a year later, the girl Joseph was born, and a year later another daughter, Ruzena. The composer’s family life could not be called cloudless. Despite the fact that Antonin was always looking for a side job, there was always not enough money, and besides, children were constantly ill. And then a terrible misfortune broke into the house of Dvorzhakov: one after another, all three of their children died. At first, Joseph was gone, then Ruzena was accidentally poisoned with a phosphorus solution, and a month later, in the same 1877, Otakar died of measles. I burn parents there was no limit. Happiness in the family returned a year later with the birth of the daughter of Otilia, and then five more children: Anna, Magdalena, Antonina, Otakar and Aloizii.

Dvorak's Music in Cinema

For some time, the artistic heritage of Antonin Dvorak was not given due attention, but today his music is again very popular. The composer’s symphonic works are certainly included in the repertoire of the most famous symphonic orchestras, as well as in the programs of various festivals. The power of the musical thought of his creations is that it gives people joy and peace, calls them to love and good nature.