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Oh it's all true. [John Tyrell New Grove -Nejedlý, Zdeněk ]

He saw the evolution of Czech music in the line Smetana–Fibich–Foerster–Ostrčil and publicized this view, notably in the periodical Smetana (1910–26), which he and his adherents founded for the purpose. His attitude to other figures in Czech music – Dvořák, Janáček, Suk and Novák – who did not belong to this succession was wholly negative. Dvořák, for example, the major Czech composer of operas between Smetana and Janáček, was omitted from his book on Czech opera after Smetana (1911) except for a few dismissive comments. Such an attitude might have been considered merely eccentric and ultimately irrelevant (public opinion has gone in a different direction) were it not for the immense power that Nejedlý wielded. In the early 1950s he had become the object of a cult, exemplified by the periodical Hudební rozhledy, which in 1953 ran a regular feature entitled 'We will learn from the works of Zdeněk Nejedlý', and by the foundation that year of the 'Cabinet of Zdeněk Nejedlý', whose object was to 'research the rich materials about [Nejedlý's] life and work so as to acquaint all Czech and Slovak people still further with his great personality and work' (ČSHS); dogmatic opinion had now become state dogma. .

This whole sad episode BTW in Czech history is called ''The Dvorak Affair''

Klaus Doge- late Dvorak expert - called Dimitrij ," his most important stage work after Rusalka"

Zdenk Nejedly, who despised Dvorak's music and fulminated all his life about his operas, thought Dimitrij his best work.(he was very nutty though, banned the work for 12 years when he become communist minister of education, he actually had the power to write Dvorak out of the history books - he tried and failed of course)

Very interesting.  Thanks for the info.

You see I'm still a little confused by the term "orchestral preludes" in my mind it can come down to three options:

1) The preludes are proper symphonic poems in the Lisztian tradition. I completely understand what you say about his complicated relationship with Liszt , maybe that's why he chose not to call them symphonic poems.
2) They are concert overtures in the Beethoven/Mendelssohn tradition. They display a general mood instead of a specific programme.
3) They are a unique Raffian creation. The chandos booklet describes them as prefiguring film scores by a few decades.

(What the preludes are(or not) has been bothering me for ages)

That's fascinating to learn he was contemplating King Lear. I wish he would've gone through with it. I treasure the Preludes(wish he called them symphonic poems)

A nice read:

https://www.prestomusic.com/classical/articles/3130--interview-stanford-string-quartets-from-the-dante-quartet

What? Sterling , as far as I understand it only secured the rights last year. It was sitting in some radio archives somewhere until then for some + 15 years. I'm grateful for Sterling finally to bring it to release.

Just managed to listen to this superb album. A joy from beginning to end. It's nice to know we have the masters complete string quartets on record now for posterity. I hope we will still get the quintets later this year from SOMM.

It's a joke - relax.

Well, hopefully it won't be as long as Benedetto Marcello(18 years) SPOILER ALERT: I'm not going to be around.   

To be honest all I care about is when I get the CD(download) in my grubby paws, hopefully soon. I'm always hankering for more Raff.

Don't be so down with yourself hadrianus, you've accomplished a lot. 

Huh? So why did they do the campaign to raise funds??

Even though I couldn't make heads or tails of the campaign I'm glad it was a success.

I do wonder how they will record this with the all pervasive covid? supposed to be coming out this year?

Rimsky's always been my favourite. His operas are top class. He is loved and fawned over in his homeland for that very reason. But the west just shrugs their shoulders as far as that's concerned and know him best for a couple of showpieces for orchestra. Richard Taraskin calls him the most underrated composer of all time.(no doubt someone's going to disagree with this)