is the Czech Suite which Dvořák didn't want to sell to Simrock, and had published with Schlesinger as Op. 39 instead of Op. 52. In this way, the same opus number was given to more than one of Dvořák's work; for example, the opus number 12 was assigned successively to the opera King and Charcoal Burner (1871), the Concert Overture in F (1871, derived from the opera), the String Quartet No. 6 in A minor (1873), the Furiant in G minor for piano (1879), and the Dumka in C minor for piano (1884). In other cases, a work was given as many as three different opus numbers by different publishers. The numbering of Dvořák's symphonies has varied: they were initially numbered by order of publication instead of composition the first four symphonies to be composed were published after the last five the last five symphonies were not published in order of composition, explaining why, for example, the New World Symphony originally published as No. 5, was later known as No. 8, and then renumbered as No. 9 in the critical editions published in the 1950s. All of Dvořák's works were catalogued chronologically by Jarmil Burghauser. As an example, in the Burghauser catalogue, the New World Symphony, Op. 95, is B.178. Scholars today often refer to Dvořák's works by their B numbers (for Burghauser), partly because many early works do not have opus numbers. References to the traditional opus numbers are still common because of their historical continuity with earlier scores and printed programs. The opus numbers remain more likely to appear in printed performance programs. Symphonies During Dvořák's life, only five of his symphonies were widely known. The first one published was the sixth, dedicated to Hans Richter. After Dvořák's death, research uncovered four unpublished symphonies. The manuscript of the first one had even been lost to the composer himself. This led to the situation in which the New World Symphony has successively been called the 5th, 8th and 9th. The modern chronological numbering system is used here. With their lyrical style and accessibility to the listener, Dvořák's symphonies seem to derive from the Schubertian tradition; but, as Taruskin suggests, the difference was Dvořák's use of cyclic form, especially in his later symphonies and concertos, where he "occasionally recycled themes... to a degree which lent his works a tinge of secret 'programmaticism'". Symphony No. 1 in C minor, Op. 3,