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Antonin Dvořák (1841-1904)

As a viola player the young Dvorak played in a Prague theatre orchestra conducted by Smetana. He raemained an orchestral musician until 1873 when he became organist at St. Adalbert's Church in Prague, which provided him with decent financial security, a higher state in social status, and enough free time to focus on composing. He composed two sets of Slavonic Dances in 1878 and 1886. Originally written for piano four hands, the Slavonic Dances were inspired by Johannes Brahms's own Hungarian Dances and were orchestrated at the request of Dvořák's publisher soon after composition. The pieces, lively and overtly nationalistic, were well received at the time and today are among the composer's most memorable works, occasionally making appearances in popular culture.

Extra Tracks

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A sample of downloads selecled by a customer for delivery on CD
Beulah Extra is available on CD - select Beulah Extra download tracks and have them supplied on compact disc. The limit is 75 minutes of music per disc. Each disc costs GBP11.45 post free (standard mail/airmail worldwide, signed for or registered mail will be charged extra). Allow 14 days for delivery.
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Below are tracks from our library that never made it onto one of our compact discs. They can be downloaded here as high quality 320kbs AAC encoded (MP3) files.

Purchasers of tracks have unlimted personal use but must not pass or sell on to third parties nor broadcast without prior permission from PPL

 carnival overture
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dvorak cello concerto
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1st movement
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2nd movement
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3rd movement
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dvorak the golden spinning wheel beecham
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Dvo?ak Slavonic Rhapsody No 3 Rafael Kubelik
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dvorak sympnony numbero 8 basil cameron
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1st movement listen and buy

2nd movement listen and buy

3rd movement listen and buy

4th movement listen and buy

"Beautifully shaped, poetic and full of vitality. This is one of the finest performances of the symphony that I have heard" Alan Sanders in Classical Recordings Quarterly Autum 2011

"Cameron's unaffectedly poetic style immediately registers, while his secure grasp of symphonic form makes for a memorably direct Dvorak Eight" Rob Cowan in Gramophone October 2008

"What a musician! Cameron here conducts the lovelist performance of Dvoark's Eight Symphony I've ever heard, bar none, with playing to match." Micheal Hayes in BBC Music September 2008
dvorak symphony number 9
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1st movement
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2nd movement
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3rd movement
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4th movement
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dvorak violin concerto
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1st movement
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2nd movement
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3rd movement
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"If I call her playing on this new disc ravishing I use the word most carefully : it is, indeed, so beautiful that it makes even the occasional duller passages good to listen to. She has an unerring sense of tempo--how exactly right is her speed for the slow movement: and her freshness and rhythm in the Finale are a delight. This is just the sort of performance this Concerto needs and it is one that will commend the music to anyone who has so far not been particularly captivated by the work." Gramophone September 1955

dvorak stabat mater
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"The oratorio, indeed, overflows with melody (with the words sometimes not well adapted to it and with a disregard for correct accentuation of the Latin) and it is superbly vocal. In the bass solo with chorus, Fac ardeat car meum (No. 4) in which the conductor has used children's voices to respond to the solo voice with touching effect, Dvorak, after a declamatory passage for the soloist, writes a melody that could have come from one of the slow Slavonic Dances, this being one of several pieces of eflective national colouring in the work. Two of the best movements are Eia, mater, for chorus (a funeral march of great pathos) and the contralto solo, Inflammatus et accensus (No. q) which is also in march tempo, but quicker and more urgent. The final chorus is a brightly coloured vision of Paradise (the flowing melody of the opening chorus is recapitulated in it) which is saved from triviality by a magnificently dramatic stroke after what appears to be the final Amen, The chorus, unaccompanied, again sing the last words of the Stabat Mater in massive harmony rising to a great climax (in which the orchestra joins) on Paradisi gloria, this being followed by a gradual decrease in volume over the orchestra and the solo soprano, with chorus, singing quiet repetitions of Amen. The music dies away on high woodwind chords. This is obviously a good performance, with excellent soloists and chorus, and the work is sung with a glow and fervour that is in welcome contrast to the paler style of our national tradition." Gramophone October 1953

1. Quartetto, Coro. Andante con moto (Stabat Mater dolorosa)
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2. Quartetto. Andante sostenuto (Quis est homo, qui non fleret)
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3. Coro. Andante con moto (Eja, Mater, fons amoris)
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4. Basso solo, Coro. Largo (Fac, ut ardeat cor meum)
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5. Coro. Andante con moto, quasi allegretto (Tui nati vulnerati)
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6. Tenore solo, Coro. Andante con moto (Fac me vere tecum flere)
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7. Coro. Largo (Virgo virginum praeclara)
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8. Duo. Larghetto (Fac, ut portem Christi mortem)
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9. Alto solo. Andante maestoso (Inflammatus et accensus)
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10.Quartetto, Coro. Andante con moto (Quando corpus morietur)
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