Musicologica Olomucensia

Two changes of style in the creative process of A. Dvořák are discussed, the first in 1873/74, the second at the end of 1895. As this later change is declared. Dvořák´s turn from the "absolute Music" to the program-compositions and operas, which cause sees the author in the consequences drawn by the composer from the discussion about American National Music during his stay in USA and in new cultural situation in the composer´s country, especially in the establishing of the concerto-orchestra (Czech Philharmony its first concert he conducted) - it demanded to acquire broader public by more democratic and concrete genres - and refuses the hypothesis D. Beveridge´s that it was caused by reaching of the ideal form of the sonata-form, which was a goal Dvořák s through his all life.
The earlier change must be - by the Author - situated precisely in the time and there must be also its causes i. e. the crash of the inscenation of Dvořák´s opera Král a uhlíř and the refusal of the String Quartett F minor. This lead the composer to overwork his even achieved Quartett A-minor, at first to separate its in one whole connected parts and later to more far-reaching changes in the facture. But both seemed impossible and dissatisfied the composer. To prove this hypothesis, the author brings results from his former analytical work (till now unpublished) with commentary to other studies concerning Dvořák´s compositions from this time: The String Quartett F minor, both versions of the Quartett A minor (later op. 12), the IV Symphony in D minor (which should be dated between both versions of op. 12, but some parts of it could originate stil in 1873 - at least Capriccio used as Scherzo) and lastly the String quartett op. 16.
The beginning change of the style, tending to more simplicity and clearness of the form, should be situated in the second redaction of the op. 12 (shortenings and reduction of sound esp. in Finale etc.). In this direction goes further the second version of the opera Král a uhlíř and especially the Quartett op. 16, most assimilated to the traditional schoolbook-sonata for. But also in this quartett there could be found some traits "destabilizating" this form and connecting this composition with many former works and also with future. The op. 16 is after the author only a rest in Dvořák´s creative way. The change of style is seen in the turn of trying to destroy the sonata form in its outer traits to its inner structure. While transforming and recreating it uses Dvořák many means from former works found also in op. 16 and also some new ones intensifying the variative methods inclusive "developing variation" (Schönberg), lowering the thematic contrast, introducing tectonic ambivalences (J. Volek), delayed developments (Beveridge - after the author better "anticipated recapitulation") and many others.
Summarizing states, the author that style-changes in Dvořák´s creative development are not so sudden, deep and far reaching as was judged till now and root in the logics of his development and social status.