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Dvorak,approaching fifty and at the height of his fame, had been persuadedto devote some of his time to teaching at the Conservatoire, thereby creatinga lasting legacy, an influential \"Dvorak School\" of composers, several of whomwent on to teach at the Conservatoire themselves, passing on the traditionto future generations. Naturally, the most room is given to Josef Suk,the pupil of Dvorak who left the most original legacy of compositions.A separate CD is devoted to Dvorak's lesser-known pupils: the talentedmelodist Oskar Nedbal won fame for his operettas, and Julius Fucik iscelebrated for his witty marches, while the legendary violinist Jaroslav Kocianwrote music for his own instrument, and the Czechoslovak Legionnaire RudolfKarel was an exemplary patriot. Also of interest are composers who areentirely forgotten apart from a single work of greater significance, like AdolfPiskacek, Vojtech Kuchynka, and Arnost Praus. 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Shostakovich himself was the soloist at it's premiere, showcasing his virtuosity and sharp humor. The concerto brims with parody, irony, and stylistic playfulness -traits that would define much of his music. The first movement alternates between dramatic, driving passages and cheeky references to classical motifs. The second movement offers a surprisingly lyrical, melancholic interlude before the music veers back into high-spirited satire. The inclusion of the trumpet, often acting as a witty commentator or foil to the piano, adds to the concerto's sense of mischievous dialogue. Beneath the humor, however, lies an undercurrent of anxiety and intensity, reflecting Shostakovich's growing awareness of the political pressures surrounding Soviet artists in the 1930s.The Piano Concerto No.2 in F major Op.102 (1957), by contrast, is lighter, more transparent, and more optimistic. Written as a gift for his son Maxim's 19th birthday, it is among Shostakovich's most accessible works. 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