Editing Antonín Dvořák (section)

==Style==
[[File:DvorakTomb.jpg|thumb|right|Dvořák's grave in the [[Vyšehrad Cemetery]]]]
Many of Dvořák's compositions, such as the ''[[Slavonic Dances]]'' and his large collection of songs, were directly inspired by Czech, [[Moravian traditional music|Moravian]], and other Slavic [[traditional music]]. As the basis for his works, Dvořák frequently used Slavic [[folk dance]] forms including the [[skočná]]; the Bohemian [[furiant]], [[sousedská]], and [[Špacírka|špacirka]]; the Slovak [[odzemek]]; the Polish [[mazurka]] and [[polonaise (dance)|polonaise]]; the Yugoslav [[Kolo (dance)|Kolo]]; and folk song forms of Slavic peoples, including the Ukrainian [[Dumka (musical genre)|dumka]]. His 16 [[Slavonic Dances]], Op. 46, which first brought him a wide reputation, and Op. 72, include at least one of each of these forms. He also wrote an orchestral ''Polonaise'' (1879). He named the third [[Movement (music)|movement]] of his [[Symphony No. 6 (Dvořák)|6th Symphony]] as "Scherzo (Furiant)". His [[Dumky Trio]] is one of his best-known chamber works, and is named for the [[Dumka (musical genre)|dumka]], a traditional Ukrainian and Slavic genre. His major works reflect his heritage and love for his native land. Dvořák followed in the footsteps of [[Bedřich Smetana]], the creator of the modern Czech musical style.

Dvořák had been an admirer of [[Richard Wagner|Wagner's]] music since 1857.{{Sfn|Clapham|1979b|p=17}} Late in life, he said that Wagner "was so great a genius that he was capable of doing things that were beyond the reach of other composers".{{Sfn|Clapham|1979b|pp=172–73}} Wagner especially influenced Dvořák's operas, but also some orchestral pieces. According to Clapham, the theme of the Andante Sostenuto from his [[Symphony No. 4 (Dvořák)|fourth symphony]] "could almost have come directly out of ''[[Tannhäuser (opera)|Tannhäuser]]''".{{Sfn|Clapham|1979b|p=31}}

From 1873 on, Dvořák's style was "moving steadily in the direction of [[Classical period (music)|classical]] models".{{Sfn|Clapham|1979b|p=27}} To be more specific about "classical models," in 1894 Dvořák wrote an article in which he said the composers of the past he admired most were [[Bach]], [[Mozart]], [[Beethoven]] and [[Schubert]]. As the article was specifically on Schubert, three years in advance of the centennial of his birth, it seems Dvořák had a special predilection toward Schubert.<ref>[http://digital.library.cornell.edu/cgi/t/text/pageviewer-idx?c=cent;cc=cent;rgn=full%20text;idno=cent0048-3;didno=cent0048-3;view=image;seq=0351;node=cent0048-3%3A5] (from ''The Century Illustrated Monthly Magazine'', Vol. XLVIII, No. 3 (July 1894), pp. 341–46).</ref>