As early as the 14th century, musicians like Machaut found refuge at the court of King John in Bohemia. In the 16th century, Prague became the imperial residence under Rudolf II, resulting in a flood of songbooks that resonated in neighboring German and Hungarian regions as well. The city grew into an important meeting place for outstanding musicians who successfully coordinated their musical life with Vienna and other German metropolises. Until the early 18th century, composers from Bohemia made significant contributions to the musical literature of the German-Austrian region.
In the 19th century, two influential figures, the composers Bedřich Smetana and Antonín Dvořák, brought the national character of Bohemian music to the forefront. Smetana—often referred to as the "father of Czech music"—drew extensively on Bohemian dances and folk songs. Dvořák, also a significant composer, was influenced by Brahms's ideals but remained true to the national spirit in his work. The Bohemian national school, compared to other national movements, was characterized by an exceptional spontaneity in its musical language, which was particularly evident in Dvořák's music.
Antonín Dvořák was born near Prague in September 1841, the eldest of eight children, and initially showed no remarkable musical talent. At the age of twelve, he began an apprenticeship as a butcher, but later attended the Prague Organ School, where he laid his musical foundation and subsequently joined a band that regularly played in taverns.
A pivotal moment in Dvořák's career was his participation in a concert conducted by Wagner. Although Wagner's influence was noticeable in his early works, Dvořák found a mentor in Smetana, who encouraged him to develop his own style. This led him to compose significant music and increasingly turn his attention to chamber music.
Following the success of the Slavonic Dances, Dvořák wrote his String Sextet in May 1878 in just two weeks. It premiered the following summer at Joseph Joachim's villa in Berlin, built in his honor, and was met with great enthusiasm by the public.
In September 1892, Dvořák assumed the directorship of the National Conservatory of Music in New York. He praised the school as exceptional because it did not award diplomas and exempted African American students from tuition fees. His longing for home led him to Spillville, Iowa, where he spent the summer with his family in a Czech community and composed works such as the "American String Quartet."
During his time in Spillville, Dvořák came into contact with the Kickapoo Indians of North America, which subtly influenced his music. The String Quintet Op. 97, which he composed there and which bears the nickname "American," also reflects these impressions. With this multifaceted work, which combines various motifs and a distinctive style, Dvořák demonstrated his artistic mastery.