Published in 1883, Dvorak's epic Piano Trio in F minor, op. 65, is perhaps the most important out of the four works the composer wrote for this combination of instruments. Although in no sense meant to be autobiographical, it unmistakably relates to certain events in his life at that time. Of significant impact was the death of his mother, to whom he was deeply attached, in December of the preceding year: the elegiac tone of the intensely emotional third movement suggests great emotional distress of the composer over this tragic event. The trio was also written during a period of advancement in Dvorak's compositional style, his response to German friends and colleagues' urges to widen the international appeal of his work. Seasoned listeners will certainly notice some very Brahmsian moments, which Dvorak succeeded in weaving in without compromising his characteristic nationalist melodic style.

The piece opens in dramatic fashion: A ghostly melody played by the string instruments in unison quickly explodes into a furious and powerful statement of a three-note figure followed by swirling eighth notes in the strings. Several transfigurations of these two ideas lead into the second theme group, starting with a lyrical and romantic line played by the cello. The highlight of this movement is the magnificent development section, at the heart of which lies the striking juxtaposition of an agitated and anguished variation of the three note motiv and a slow espressivo one.

The second movement, marked Allegro grazioso, is a light and graceful dance of markedly Czech character. Rhythmic confusion arises easily for the listener, due to the tension between the triplet rhythm in the string accompaniment and the duplet rhythm in the piano's theme; furthermore, accents placed on a mix of on- and off-beats makes it difficult to fit a strict rhythmic signature to the music. A contrasting, lyrical middle section, at the end of which the violin makes a melancholy reference to the opening theme of the first movement, is heard before the dance section repeats.

The death of Dvorak's mother seems to be the focus of the third movement. Intensely emotional in character, the movement is readily interpreted as a portrayal of the composer's internal struggle between the death of his mother and the wonderful memories she left behind. A solemn remembrance of the tragic event at the opening of the movement soon yields to the surfacing of a distant but sweet memory that brings some condolence, only to spin into stormy confusion; then, returns to more thoughts of pleasant memories alternate with decreasingly intense outbursts of anguish. In the end, both string instruments join together in a moment of extraordinary beauty and perfect harmony, affirming the composer's resolution to cherish the beauty of the memories over the tragedy of the death.

The finale is based on a theme in the style of a Furiant, an energetic Czech dance, characterized by rhythmically interesting elements and off-beat accents. Again, a calmer secondary theme provides contrast, this time with waltz-like character. A brief section of exuberance in the otherwise serious movement is picked up by the long coda section, in which two attempts at ending in joviality are unsuccessful; only a majestic restatement of the opening theme of the first movement finally allows the piece to come to a close.