72, include at least one of each of these forms. He also wrote an orchestral Polonaise (1879). He named the third movement of his 6th Symphony as "Scherzo (Furiant)". His Dumky Trio is one of his best-known chamber works, and is named for the Dumka, a traditional Slavic and Polish genre. His major works reflect his heritage and love for his native land. Dvořák followed in the footsteps of Bedřich Smetana, the creator of the modern Czech musical style. Dvořák had been an admirer of Wagner's music since 1857. Late in life, he said that Wagner "was so great a genius that he was capable of doing things that were beyond the reach of other composers". Wagner especially influenced Dvořák's operas, but also some orchestral pieces. According to Clapham, the theme of the Andante Sostenuto from his fourth symphony "could almost have come directly out of Tannhäuser". From 1873 on, Dvořák's style was "moving steadily in the direction of classical models". To be more specific about "classical models", in 1894 Dvořák wrote an article in which he said the composers of the past he admired most were Bach, Mozart, Beethoven and Schubert. As the article was specifically on Schubert, three years in advance of the centennial of his birth, it seems Dvořák had a special predilection toward Schubert. Works Dvořák wrote in a variety of forms: his nine symphonies generally conform to classical models, but he also composed the new symphonic poems. Many of his works show the influence of Czech folk music rhythms and melodic shapes. Amongst them are the two sets of Slavonic Dances, the Symphonic Variations, and the majority of his songs. The echoes of such influence are also found in his major choral works. Dvořák wrote operas (of which the best known is Rusalka), serenades for string orchestra and wind ensemble, chamber music (including a number of string quartets and quintets), and piano music. Numbering A large number of Dvořák's works were given opus numbers, but not always in the order in which they were written or published. To improve sales, some publishers such as N. Simrock preferred to represent budding composers as being well established by giving early works much higher opus numbers than their chronological order would merit. In other cases, Dvořák deliberately assigned lower opus numbers to new works to be able to sell them outside contract obligations to his publishers. An example