The mixed-voice choir Dvořák was established in 1919 in Zlín on the base of a couple of musical and literature associations that had been active here already before the first World War. It introduced itself to the cultural scene by the then popular musical comedy Kvas krále Vondry XXVI. by J. Illner and by E. Audran's operetta La Pouppée. But it also showed its higher ambitions by performing V. Blodek's opera V studni (In The Well).

End of the nighteen twenties was a significant period in Dvořák's history, with František Šmíd becoming the choir master. This lustrous personality of Zlín's musical life gave the choir a strong touch of professionalism and helped it become part of a national musical context. Lighter genre was being replaced by works of the Czech classical music, such as those from Dvořák, Smetana, Křížkovský, Foerster. Working first with occasional orchestras and later with the Orchestral Association Dvořák the choir repeatedly performed Dvořák's Svatební košile (The Spectre's Bride) and selections from Requiem, Smetana's Česká píseň (Czech Song), Fibich's Spring Romance and other cantatas. The choir became spiritus agens of musical life in Zlín. Its activities went beyond own performances – it organised musical events, in which the most outstanding personalities of those days took part, such as J.B. Foerster and J. Křička. It was J.B. Foerster who even dedicated one of his later compositions, Potok (The Creek) to the choir.

In the 1930's the association initiated the creation of Zlín's Municipal School of Music, with its 621 students to become the biggest school of music in the Republic in the following decade. The school will be transformed into Higher School of Music after WW II., and moved to Kroměříž.

The bad times of the nazi German occupation didn't mean a stop to the activities of the choir, despite of some paralysis. In 1940 it organised a festival, “Czech May of Music,” where even the Czech Philharmonic Orchestra performed, conducted by Václav Talich; not to forget “Zlín Sundays of Music” and the “Evenings of Czech Music.” In these events it was the choir's endeavour, by performing Czech repertoire to raise the national self confidence.

After WW II. was over a period of high euphoria arrived, with the choir performing 48 times in the season 1945-1946. New works appeared in the repertoire, such as Dvořák's Stabat Mater and Janáček's cantata Amarus.

Since the beginning of the totalitarian era until the end of the 1960's, the choir was forced to take part in culturally political events of that time. Many members disagreed and preferred leaving the choir.

In 1968 Dvořák became part of the State Symphony Orchestra Gottwaldov (which was the communist name of the city of Zlín), which brought a new time of prosperity. Working with the Philharmonic Orchestra made it possible for the choir to perform demanding vocal-instrumental works, in a scope beyond any imagination so far. In subscription concerts, works like Beethoven's IX^th Symphony, Dvořák's Te Deum, Orff's Carmina Burana, Puccini's Messa di Gloria and many others appeared on stage. After performing J.J. Ryba's Czech Christmas Mass (Missa Pastoralis), this Mass became annual tradition of the choir.

In 1968-1981, the choir took regularly part in Singer's Festivals of South Moravia; another important part of its activity were educational concerts for schools.

The Velvet Revolution of 1989 brought new chances also to the choir. It became a separate organisational unit and since 1993 it has been performing under its current name, “Mixed-Voice Choir Dvořák, Zlín;” yet the cooperation with the Zlín Philharmonic Orchestra went on. Like many other choirs, Dvořák started focusing more on sacred music, among others Bach's St. Matthew Passion, Händel's Messiah and G. Verdi's Requiem. At last it became possible to perform Bohuslav Martinů's cantatas without any restrictions.

New times have opened Dvořák the way to tour abroad. It started visiting chummy towns in France, Poland and Belgium. During Budapest performance of Beethoven's IX^th Symphony, the choir sang together with other 800 singers in front of the audience of 50,000. Since 1998 the choir has participated annually in the festival “The Summer of Savoy” in the French Alps. It presented itself, together with the Russian orchestra of Andrej Galanov, through W. A. Mozart's Requiem and Coronation Mass, Ch. Gounod's Ct. Cecilia Mass, Brahms' German Requiem, Dvořák's Stabat Mater and other oratorios. This period also fixed the structure of our seasons, focusing on Christmas, Easter and All Souls' Day concerts together with Bohuslav Martinů Philharmonic Orchestra, and on the preparation and realisation of guest performances in France.

Partly due to friction, partly due to the sinking number of our members, the collaboration with the Philharmonic Orchestra was terminated in 2004. The transformation process goes on, which should result more in a chamber choir, still keeping up to the established high standards.

Zdeněk Bílek

Monica Bucklad Hofstetter (Switzerland)

Stanislav Červenka

Radek Dočkal

Rostislav Hališka

Tomáš Koutník

Jaroslav Kyzlink

Peter Lücker (Germany)

Jaromír Krygel

Miloš Machek

Aleš Podařil

Kirk Trevor (United Kingdom)

Jaroslav Vodňanský

Andrej Galanov (Belarus)

Peter Vermote (Belgium)