Antonín Dvořák is revered as one of the greatest composers of late 19th-century Romanticism. He is celebrated for the kind of poignant melodies redolent of Czech folk music found in the utterly charming Bagatelles and Rondo – the haunting tunes and harmonic twists of which represent the distinctive style that brought him international fame. Less known is that during the years 1868–70 Dvořák composed in a style so wild for the time that it foreshadowed the modernistic innovations of Schoenberg and his contemporaries. Dvořák’s Second Quartet reveals fascinating examples of early experimentation before his transition into the harmonious Slavic style for which he is so beloved.