Like the two sets of Slavonic Dances by Czech composer Antonín Dvorák, the Legends for orchestra were originally conceived and executed as piano duets. Unlike the Slavonic Dances, however, the Legends are more lyrical and song-like with fewer dance-like rhythms, darker harmonies, and slightly more complex structures. Composed in summer 1881 as a relaxation from the recently completed Symphony No. 6, Dvorák orchestrated the Legends in the autumn of that year. Although not nearly as popular as the Slavonic Dances, the Legends were lauded by no less a composer than Brahms. As he wrote their mutual publisher: "Please give Dvorák my greetings and tell him how much his Legends have given me lasting pleasure. They are a fascinating work, and the man's fresh, exuberant, rich powers of invention are enviable."

1. Allegretto: This is fiercely set in archaically inflected D minor and the Legend No. 1 sounds faux-frightening.

2. Molto moderato: Smoothly lyrical music in G major alternates with yearning music in G minor in the Legend No. 2.

3. Allegro giusto: Shifting between passionate G minor and yearning G major, the Legend No. 3 is a harmonic and emotional mirror image of the Second.

4. Allegro maestoso: The archaic tone of the opening Legend returns in the bardic solo horn call that starts the Legend No. 4 in C major. The most balladic and longest of the Legends, the Fourth moves from bardic call to heroic march to excited climax.

5. Allegro giusto: With its gently plucked harp and gently flowing melody, the Legend No. 5 in A flat major is said to have been inspired by the devotional painting Dvorák favored.

6. Allegro con moto: Set in Romantic C sharp minor, the Legend No. 6 is a lilting nocturne with a warmly ardent woodwind trio.

7. Allegretto grazioso: Like its title, the Legend No. 7 in A major starts gracefully in the violins, but builds to a dramatic ending for horns and winds.

8. Un poco allegretto e grazioso: The Legend No. 8 is a pastoral picture in the pastoral key signature of F major and the pastoral time signature of 6/8. Like the preceding Legend, it is predominantly graceful in tone.

9. Andante con moto: The shortest piece in the set, the Legend No. 9 starts and ends in D major with a D minor central section. Although its themes are folk-song like, Dvorák uses canonic entrances, invertible counterpoint, and pedal points to enliven the music.

10. Andante: The Legend No. 10 slides between dramatic B flat minor and lyrical B flat major and brings the Legends to a warm and tender conclusion.

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