Tag Archives: Antonín Dvořák

Antonín Dvořák – Sonatina in G major, Op. 100: make music part of your life series


Antonín Dvořák – Sonatina in G major, Op. 100

Bohuslav Matousek, violin. Petr Adamec, piano

Antonín Dvořák – Sonatina in G major, Op. 100
1. Allegro risoluto 5’52
2. Larghetto 4’02
3. Scherzo 2’56
4. Allegro 6’20

Song to the Moon – Antonín Dvořák: make music part of your life series


Song to the Moon – Antonín Dvořák

See lyrics translated into English below.

Soprano Renee Fleming sings this aria. Dvorak’s composition relies upon expansive arpeggiated chords to capture the fairy tale ambiance of Rusalka. The amicable old Spirit of the Lake, Jezibab, is enjoying the singing of the Wood Nymphs, when his daughter, Rusalka, sadly approaches him. She admits that she has fallen in love with a handsome prince. Yearning to know the bliss of union with him, she wishes to become human. Deeply saddened, the Spirit of the Lake consents to her request, and leaves. All alone, Rusalka sings this magnificent aria and shares the secrets of her longing to the moon.

Featuring the paintings and artwork of William Bouguereau, Paul Cezanne, Claude Monet, J.W. Waterhouse, Armand Guillaumin, and Spadecaller.

Lyrics (translation)

Silver moon upon the deep dark sky,
Through the vast night pierce your rays.
This sleeping world you wander by,
Smiling on man’s homes and ways.
Oh moon ere past you glide, tell me,
Tell me, oh where does my loved one bide?
Oh moon ere past you glide, tell me
Tell me, oh where does my loved one bide?
Tell him, oh tell him, my silver moon,
Mine are the arms that shall hold him,
That between waking and sleeping he may
Think of the love that enfolds him,
May between waking and sleeping
Think of the love that enfolds him.
Light his path far away, light his path,
Tell him, oh tell him who does for him stay!
Human soul, should it dream of me, Let my memory wakened be.
Moon, moon, oh do not wane, do not wane,
Moon, oh moon, do not wane….

Nocturne – Antonin Dvořák Nocturne In B, Op. 40, B 48 (make music part of your life series)


Antonin Dvořák: Nocturne In B, Op. 40, B 48
Bernhard Güller: Stuttgart Chamber Orchestra
Moonlight Classics

make music part of your life series: Antonín Dvořák -Scherzo Capriccioso, Op. 66


Antonín Dvořák -Scherzo Capriccioso, Op. 66

Royal Philharmonic Orchestra, Paavo Järvi

 

fabulous musical moments: String Quartet in F Major, Op. 96, “American” by Antonín Dvořák – Lento (Performed by the Fry Street Quartet) (


String Quartet in F Major, Op. 96, “American” by Antonín Dvořák – Lento (Performed by the Fry Street Quartet)

great compostions/performances: Dvořák / String Quartet No. 12 in F major, Op. 96 “American” (Cleveland Quartet)



Dvořák / String Quartet No. 12 in F major, Op. 96 “American” (Cleveland Quartet)

Antonín Dvořák (1841-1904):

String Quartet No. 12 in F major, Op. 96, B. 179 “American” (1893)

00:00 - Allegro ma non troppo
09:08 - Lento
16:14 – Molto vivace
20:00 – Finale. Vivace ma non troppo

Performed by the Cleveland Quartet (Telarc, 1991).

“From its first performance, Dvořák’s  ‘American’ Quartet has enjoyed lasting popularity for its tunefulness, its rhythmic verve, and its happy interplay of the four instruments. Given all the publicity afforded Dvořák’s ideas on American music, one might reasonably ask just how ‘American’ Op. 96 really is. A theme in the third movement qualifies as having been borrowed from an American: ‘a damned bird (red, only with black wings)’ that kept singing where he was working. Dvořák worked the native bird’s song into the scherzo (measures 21 and following). Beyond that we are on less firm ground. Many of the themes are entirely or nearly pentatonic, and some have wanted to see in this the influence of the black spiritual. But in fact Bohemian music is just as frequently pentatonic, and similar themes can be found in Dvořák’s music long before he came to America. The opening of the work was based on Smetana‘s First Quartet, though Dvořák’s mood is entirely diferent — lighter and livelier throughout, with the poignant exception of the lyrical second movement, the plaintive melody of which — echoed between violin and cello — is a wonderful foil to the high spirits of the remaining three movements.” – Steven Ledbetter

Painting: Airborne (1996), Andrew Wyeth

great compositions/performances: Franz Schubert: 6 Moments Musical Op.94 (D780)


great compositions/performances:  Franz Schubert: 6 Moments Musical Op.94 (D780)

great compositions/performances - Shubert - 6 Moments Musicaux Op. 94, D790 Wilhelm Bachaus piano
great compositions/performances – Shubert – 6 Moments Musicaux Op. 94, D790 Wilhelm Bachaus piano (click to enlarge)
From Wikipedia, the free encyclopedia

 
Menu
 
0:00
Performed by Raymond Smullyan

Problems playing this file? See media help.

Six moments musicaux, D 780 (Op. 94) is a collection of six short pieces for solo piano composed by Franz Schubert. The movements are as follows:

  1. Moderato in C major
  2. Andantino in A-flat major
  3. Allegro moderato in F minor
  4. Moderato in C-sharp minor
  5. Allegro vivace in F minor
  6. Allegretto in A-flat major

Along with the Impromptus, they are among the most frequently played of all Schubert’s piano music, and have been recorded many times. No. 3 in F minor has been arranged by Leopold Godowsky and others.

It has been said that Schubert was deeply influenced in writing these pieces by the Impromptus, Op. 7, of Jan Václav Voříšek (1822).[1][2]

They were published by Leidesdorf in Vienna in 1828, under the title “Six Momens [sic] musicals [sic]“. The correct French forms are now usually used – moments (instead of momens), and musicaux (instead of musicals). The sixth number was published in 1824 in a Christmas album under the title Les plaintes d’un troubadour.[2]

make music part of your life series: Antonín Dvořák -Scherzo Capriccioso, Op. 66


Antonín Dvořák:
Scherzo Capriccioso, Op. 6

make music part of your life series - Antonin Dvorak - Scherzo Capriccioso op. 66 Royal Philharmonic Orchestra cond. Paavo Jarvi

make music part of your life series – Antonin Dvorak – Scherzo Capriccioso op. 66 Royal Philharmonic Orchestra cond. Paavo Jarvi

 

make music part of your life series: Antonin Dvorak “Prague waltzes”


Antonin DvorakPrague waltzes

make music part of your life series -_-Antonin Dvorak -_ -Prague waltzes

make music part of your life series -_-Antonin Dvorak -_ -Prague waltzes

 

Fabulous musical moments: Dvořák Humoresque Yo Yo Ma, Itzhak Perlman


Dvořák Humoresque Yo Yo Ma, Itzhak Perlman

make music part of your life series: Antonin Dvorak – Romance in F minor Op 11 – Violin and piano


Antonin Dvorak – Romance in F minor Op 11 – Violin and piano

Dvorak museum, Prague

Dvorak museum, Prague (Photo credit: Wikipedia)

Antonin Dvorak – Czech Composer, born September 8, 1841 and died 1 May 1904.

devotional music: Dvorak Psalm 149 op 79 Boston Ozawa


Dvorak Psalm 149 op 79 Boston Ozawa

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great compositions/performances: Dvořák Humoresque Yo Yo Ma, Itzhak Perlman


Dvořák Humoresque Yo Yo Ma, Itzhak Perlman

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make music part of your life series: a marvelous composition – Antonin Dvorak American Suite in A, Op. 98b


Antonin Dvorak American Suite in A, Op. 98b

01 – American Suite in A, Op.98b – Andante con moto 0:01
02 – American Suite in A, Op.98b — Allegro 4:55
03 – American Suite in A, Op.98b – Moderato (alla pollacca) 09:19
04 – American Suite in A, Op.98b — Andante 14:04
05 – American Suite in A, Op.98b — Allegro 17:38

From Wikipedia, the free encyclopedia

NSRW Antonin Dvorak

NSRW Antonin Dvorak (Photo credit: Wikipedia)

**** The American Suite in A major (Czech: Suita A dur), Op. 98b, B. 190, is an orchestral suite written in 1894–1895 by Czech composer Antonín Dvořák.

English: Antonin Dvorak in Spillville (Iowa) Č...

English: Antonin Dvorak in Spillville (Iowa) Česky: Antonín Dvořák ve Spillvilu (Iowa) (Photo credit: Wikipedia)


Background

 

 

 

**** Dvořák initially wrote the Suite in A major for piano, Op. 98, B. 184, in New York between February 19 and March 1, 1894.[1] He orchestrated it in two parts more than a year after his return to the United States and immediately before his departure for Europe. The piano version was performed soon after its composition, but the orchestral version waited some years. The orchestral version of the American Suite was first played in concert in 1910 and not published until 1911, seven years after Dvořák’s death in 1904.

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make music part of your life series: Antonín Dvořák – Waltzes, Op. 54


Antonín Dvořák – Waltzes, Op. 54

Kai Adomeit, piano
Antonín Dvořák – Waltzes, Op. 54

1. No. 1, moderato in A major 3’35
2. No. 2, allegro con fuoco in A minor 3’20
3. No. 3, poco allegro in E major 2’43
4. No. 4, allegro vivace in D flat major 2’48
5. No. 5, allegro in B flat major 2’34
6. No. 6, allegro in F major 3’49
7. No. 7, allegro in D minor 2’20
8. No. 8, allegro vivace in E flat major 2’47

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make music part of your life series: Antonín Dvořák – Symphony No. 6 in D major, Op. 60, B. 112


Antonín DvořákSymphony No. 6 in D major, Op. 60, B. 112

Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák – Symphony No. 6 in D major, Op. 60, B. 112
1. Allegro non tanto 12’52
2. Adagio 10’56
3. Scherzo, Furiant 6’55
4. Finale, allegro con spirito 10’34

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Going Home Antonin Dvorak BYU Choir


Going Home Antonin Dvorak BYU Choir

William Arms Fisher, a pupil of the Czech composer Antonin Dvorak, wrote the lyrics to and adapted the music to the theme of Dvorak’s 2nd Movement to the New World Symphony. These are his words now sung by the BYU Choir.

“Goin’ home, goin’ home, I’m a goin’ home;
Quiet-like, some still day, I’m jes’ goin’ home.

It’s not far, jes’ close by,
Through an open door;
Work all done, care laid by,
Goin’ to fear no more.

Mother’s there ‘spectin’ me,
Father’s waitin’ too;
Lots o’ folks gather’d there,
All the friends I knew,
All the friends I knew.
Home, I’m goin’ home!”

NSRW Antonin Dvorak

NSRW Antonin Dvorak (Photo credit: Wikipedia)

The Largo, with its haunting English horn solo, is the outpouring of Dvorak’s own home-longing, with something of the loneliness of far-off prairie horizons, the faint memory of the red-man’s bygone days, and a sense of the tragedy of the black-man as it sings in his “spirituals.” Deeper still it is a moving expression of that nostalgia of the soul all human beings feel. That the lyric opening theme of the Largo should spontaneously suggest the words ‘Goin’ home, goin’ home’ is natural enough, and that the lines that follow the melody should take the form of a negro spiritual accords with the genesis of the symphony.

– William Arms Fisher, Boston, July 21, 1922.

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Historic Musical Moments: Beethoven / Herbert von Karajan, 1952: Symphony No. 8 in F Major, Op. 93 – VPO, Entre LP


Beethoven / Herbert von Karajan, 1952: Symphony No. 8 in F Major, Op. 93 – VPO, Entre LP

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Make Music Part of Your Life Series: Antonin Dvorak – Piano Concerto, Op. 33 (1876)


Antonin Dvorak – Piano Concerto, Op. 33 (1876)

Antonín Leopold Dvořák (September 8, 1841 — May 1, 1904) was a Czech composer. Following the nationalist example of Bedřich Smetana, Dvořák frequently employed features of the folk musics of Moravia and his native Bohemia (then parts of the Austrian Empire and now constituting the Czech Republic). Dvořák’s own style has been described as ‘the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them.’

Piano Concerto, Op. 33 (1876)

1. Allegro agitato
2. Andante sostenuto (18:09)
3. Allegro con fuoco (26:21)

Rudolf Firkušný, piano and the Saint Louis Symphony Orchestra conducted by Walter Susskind.

The Concerto for Piano and Orchestra in G minor, Op. 33, was the first of three concertos that Antonín Dvořák completed—it was followed by a violin concerto and then a cello concerto—and the piano concerto is probably the least known and least performed.

As the eminent music critic Harold Schonberg put it, Dvořák wrote “an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor“.

(bartje11 totally disagrees with the eminent Harold Schonberg)

Dvořák composed his piano concerto from late August through 14 September 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of which were made in the piano part. The work was premiered in Prague on 24 March 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Cech with the Czech pianist Karel Slavkovsky.

Dvořák himself realized that he had not created a piece in which the piano does battle with the orchestra, as it is not a virtuosic piece. As Dvořák wrote: “I see I am unable to write a Concerto for a virtuoso; I must think of other things.”
(bartje11: maybe not a work with obvious virtuoso fireworks, but still a very, very difficult piano part, not for the average pianist)

What Dvořák composed, instead, was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it.

In an effort to mitigate awkward passages and expand the pianist’s range of sonorities, the Czech pianist and pedagogue Vilém Kurz undertook an extensive re-writing of the solo part; the Kurz revision is frequently performed today.

The concerto was championed for many years by the noted Czech pianist Rudolf Firkušný, who played it with many different conductors and orchestras around the world before his death in 1994. Once a student of Kurz, Firkušný performed the revised solo part for much of his life, turning towards the original Dvořák score later on in his concert career.

Arranger:
Robert Keller (1828-1891)

Publisher Info.:
Breslau: J. Hainauer, n.d.(ca.1883). Plates J. 2579, 2581 H.

Copyright:
Public Domain

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“There is so much pure goodness in it”: Antonín Dvořák – Serenade for Strings in E major, Op. 22, B. 52


Antonín DvořákSerenade for Strings in E major, Op. 22, B. 5:

“There is so much pure goodness in it”

From Wikipedia, the free encyclopedia

Antonín Dvořák‘s Serenade for Strings in E major (Czech: Smyčcová serenáda E dur), Op. 22, was composed in just two weeks in May 1875. It remains one of the composer’s more popular orchestral works to this day.

Composition and premiere

1875 was a fruitful year for Dvořák, during which he wrote his Symphony No. 5, String Quintet No. 2, Piano Trio No. 1, the opera Vanda, and the Moravian Duets. These were happy times in his life. His marriage was young, and his first son had been born. For the first time in his life, he was being recognized as a composer and without fear of poverty. He received a generous stipend from a commission in Vienna, which allowed him to compose his Fifth Symphony and several chamber works as well as the Serenade.

Dvořák is said to have written the Serenade in just 12 days, from 3–14 May. The piece was premiered in Prague on 10 December 1876 by Adolf Čech and the combined orchestras of the Czech and German theatres. It was published in 1877 in the composer’s piano duet arrangement by Emanuel Starý in Prague. The score was printed two years later by Bote and Bock, Berlin.

Dvořák’s Serenade for Strings consists of five movements:

  1. Moderato
  2. Tempo di Valse
  3. Scherzo: Vivace
  4. Larghetto
  5. Finale: Allegro vivace
English: Dvořák's funeral on 5 May, 1904

English: Dvořák’s funeral on 5 May, 1904 (Photo credit: Wikipedia)

With the exception of the Finale, which is in modified sonata form, each movement follows a rough A-B-A form. It is believed that Dvořák took up this small orchestral genre because it was less demanding than the symphony, but allowed for the provision of pleasure and entertainment. The piece combines cantabile style (first movement), a slow waltz (second movement), humorous high spirits (third movement), lyrical beauty (fourth movement) and exuberance (fifth movement).1

Quotes and Interpretation

 

English: Statue of Antonín Dvořák in front of ...

English: Statue of Antonín Dvořák in front of Rudolfinum in Prague, Czech Republic. Português: Praça em Praga, República Tcheca. (Photo credit: Wikipedia)

The Serenade (Op. 22) was aptly entitled, since at least four of its five movements (the second of which was a delightful waltz) displayed an elegant touch suggestive of gracious living accompanied by ‘serenading’ in the stately home of some 18th-century aristocrat; in the finale alone did the composer discard periwig and lace cuffs, and even here the junketing, though lively, was well-bred, and in the closing moments there was a delicious return to the courtliness of the opening. Pastiche perhaps, but what excellent pastiche! Since Dvořák was as yet only on the threshold of developing an individual style, it is perhaps not surprising that this slightly uncharacteristic but extremely accomplished and enjoyable Serenade is the earliest of his compositions in which a detached listener is likely to discover enchantment.” (Gervase Hughes 1967)2

“Just like delivering good news to someone has a positive rub-off effect on the messenger, performing Dvořák’s Serenade is really a very therapeutic endeavor for performers. There is so much ‘pure goodness’ in it. Somehow even the moments which could cast a gloomy shadow — light melancholy of the Waltz, or the fragility of the opening of Larghetto — retain the wonderfully cloudless atmosphere… The remarkable thing about Dvořák’s Serenade – this ‘cloudless goodness’ is fully sufficient for sustaining meaningful communication for nearly half an hour of music.” (Misha Rachlevsky, 2000)

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MAKE MUSIC PART OF YOUR LIFE SERIES: Antonín Dvořák – My Home Overture, Op. 62


Antonín DvořákMy Home Overture, Op. 62

Janácek Philharmonic Orchestra, Theodore Kuchar

 

My Home (Czech: Domov můj, předehra ke hře F. F. Šamberka), Op. 62, B. 125a, is an overture in C major by Czech composer Antonín Dvořák.[1] The overture was composed from December 1881 to January 23, 1882 as one of nine numbers comprising the incidental music for the play Josef Kajetán Tyl by František Ferdinand Šamberk. Dvořák constructed the music in sonata form on two song themes associated with the play’s protagonist, Czech dramatist Josef Kajetán Tyl: “Kde domov můj?” by František Škroup, and the folk tune “Na tom našem dvoře”.[2] Škroup composed “Kde domov můj?” (Where is my home?) in 1834 to a text written by Tyl. The song quickly became popular and was later designated as the Czech national anthem. “Na tom našem dvoře” was a song sung in productions of Strakonický dudák (The Bagpiper of Strakonice), one of Tyl’s most popular plays.[3] The overture is largely performed separately as a concert work, usually lasting about ten minutes.[2] Many conductors have conducted this piece including Jan Kučera, Bohumil Gregor and Karel Ančerl.

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GREAT COMPOSITIONS/PERFORMANCES: Janos Starker plays Brahms Cello sonata no 1 in E minor op 38


Cello : Janos Starker
Piano :Gyorgy Sebok
recorded in Paris 1959
I Allegro non troppo 0:00
II Allegretto quasi menuetto 13:35
III Allegro 19:09

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MAKE MUISC PART OF YOUR LIFE SERIES: Duo Kontarsky PLAYS BIZET Jeux d’enfants Op.22 – 1982 *vinyl*


Duo Kontarsky @ BIZET Jeux d’enfants Op.22 – 1982 *vinyl*

Georges BIZET: Jeux d’enfants Op.22, 12 pieces for piano 4 hands
0:05 / 1. L’Escarpolette (Reverie. Andantino) [2'52'']
2:57 / 2. La Toupie (Impromptu. Allegro vivo) [0'57'']
3:53 / 3. La Poupée (Berceuse. Andantino semplice) [2'49'']
6:42 / 4. Les Chevaux de Bois (Scherzo. Allegro vivo) [1'18'']
8:01 / 5. Le Volant (Fantaisie. Andantino molto) [1'14'']
9:15 / 6. Trompette et Tambour (Marche. Allegretto) [2'07'']
11:22 / 7. Les Bulles de Savon (Rondino. Allegretto) [1'22'']
12:44 / 8. Les Quatre Coins (Esquisse. Allegro vivo) [2'07'']
14:52 / 9. Colin-Maillard (Nocturno. Andante non troppo) [1'58'']
16:50 / 10. Saute-Mouton (Caprice. Allegro molto) [1'21'']
18:10 / 11. Petit Mari, petite Femme! (Duo. Andantino) [3'00'']
21:10 / 12. Le Bal (Galop. Presto) [1'39'']
Alfons & Aloys Kontarsky, piano (rec. 1982 – vinyl (p)1983 DGG)
________________________________________­_
Alfons & Aloys KONTARSKY – piano duet *vinyl*
http://www.youtube.com/playlist?list=…

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MAKE MUSIC PART OF YOUR LIFE SERIES: Antonín Dvořák – Serenade in D minor, Op. 44


Antonín Dvořák – Serenade in D minor, Op. 44

Nash Ensemble

Antonín Dvořák – Serenade in D minor, Op. 44
1. Moderato, alla Marcia 4’17
2. Minuetto 6’08
3. Andante con moto 8’35
4. Allegro molto 6’13

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MAKE MUSIC PART OF YOUR LIFE SERIES: Antonín Dvořák – Czech Suite, Op. 39


Antonín DvořákCzech Suite, Op. 39

Janácek Philharmonic Orchestra, Theodore Kuchar

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Make Music Part of Your Life Series: Antonín Dvořák – Legends, Op. 59


Antonín Dvořák – Legends, Op. 59

Ingryd Thorson & Julian Thurber, piano

Antonín Dvořák – Legends, Op. 59
1. Allegretto non troppo, quasi andantino [D minor] 3’03
2. Molto moderato [G major] 4’08
3. Allegro giusto [G minor] 4’11
4. Molto maestoso [C major] 5’30
5. Allegro giusto [A flat major] 4’16
6. Allegro con moto [C sharp minor] 4’21
7. Allegretto grazioso [A major] 2’14
8. Un poco allegretto e grazioso, quasi andantino [F major] 3’16
9. Andante con moto [D major] 2’27
10. Andante [B flat minor] 3’14

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Great Compositions/Performances: Beethoven Piano Sonata No. 4, in E-flat major, Op. 7


Beethoven Piano Sonata No. 4, in E-flat major, Op. 7

Ludwig van Beethoven
Piano Sonata No. 4, in E-flat major, Op. 7
Wilhelm Kempff (piano)
in 1951

0:00 1st mov. Allegro molto e con brio
8:41 2nd mov. Largo, con gran espressione
16:31 3rd mov. Allegro
21:50 4th mov. Rondo: Poco allegretto e grazioso

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Make Music Part of our Life Series: Dvořák: Symphony No.8 – Harnoncourt/WPh(2004Live) A great playlist



Antonin Dvořák (1841-1904)
Symphony No.8 in G major, op.88
Nikolaus Harnoncourt
Wiener Philharmoniker
Musikverein, Vienna, 26 9/2004

From Wikipedia, the free encyclopedia
 
Symphony No. 8
by Antonín Dvořák
Dvořák 8058.jpg

Title page of the autograph score
Key G major
Catalogue
  • Op. 88
  • B. 163
Style Romantic
Composed 26 August 1889 – 8 November 1889 – Vysoká u Příbramě
Dedication Bohemian Academy of Science, Literature and Arts
Published 1890
Movements 4
Premiere
Date 2 February 1890
Location Prague
Conductor Antonín Dvořák
Performers Orchestra of the National Theatre

The Symphony No. 8 in G major, Op. 88, B. 163, is a symphony by Antonín Dvořák, composed in 1889 at Vysoká u Příbramě, Bohemia, on the occasion of his election to the Bohemian Academy of Science, Literature and Arts. Dvořák conducted the premiere in Prague on 2 February 1890. In contrast to other symphonies of both the composer and the period, the music is cheerful and optimistic

The symphony is in four movements:

  1. Allegro con brio (G major)
  2. Adagio (C minor)
  3. Allegretto grazioso – Molto vivace (G minor)
  4. Allegro ma non troppo (G major)

The work is scored for 2 flutes (2nd doubling piccolo)*, 2 oboes (1st doubling english horn)*, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings.[1]

The orchestration of piccolo and English Horn is unusual in this symphony. The piccolo only sustains a long note in unison with the flute at the exposition of the 1st movement and the English Horn only plays a short, but exposed phrase during the second recapitulation of the main “bird call” theme, also in the 1st movement. In some editions the 2nd oboe doubles on English horn rather than the 1st oboe as indicated in most scores.

 

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Make Music Part of Your Life Series: Antonin Dvorak – Slavonic Dances: Op. 46 & Op. 72


Antonin DvorakSlavonic Dances: Op. 46 & Op. 72

Published on Aug 1, 2012

The Slavonic Dances are a series of 16 orchestral pieces composed by Antonín Dvořák in 1878 and 1886 and published in two sets as Opus 46 and Opus 72 respectively; they were inspired by Johannes Brahms‘s own Hungarian Dances.

The types of dances upon which Dvořák based his music include the furiant, the dumka, the polka, the sousedská, the skočná, the mazurka, the odzemek, the špacírka, the kolo and the polonaise.

Opus 46
0:00 No. 1 in C major: Presto (Furiant)
3:38 No. 2 in E minor: Allegretto scherzando (Dumka)
8:21 No. 3 in A-flat major: Poco allegro (Polka)
12:31 No. 4 in F major: Tempo di Minuetto (Sousedská)
20:19 No. 5 in A major: Allegro vivace (Skočná)
23:31 No. 6 in D major: Allegretto scherzando (Sousedská)
28:05 No. 7 in C minor: Allegro assai (Skočná)
31:19 No. 8 in G minor: Presto (Furiant)

Opus 72
34:58 No. 1 (9) in B major: Molto vivace (Odzemek)
38:33 No. 2 (10) in E minor: Allegretto grazioso (Starodávný)
43:42 No. 3 (11) in F major: Allegro (Skočná)
46:51 No. 4 (12) in D-flat major: Allegretto grazioso (Dumka)
51:48 No. 5 (13) in B-flat minor: Poco adagio (Špacírka)
54:08 No. 6 (14) in B-flat major: Moderato, quasi Minuetto (Starodávný -“Ancient”-)
57:43 No. 7 (15) in C major: Allegro vivace (Kolo)
1:00:51 No. 8 (16) in A-flat major: Grazioso e lento, ma non troppo, quasi tempo di Valse (Sousedská)

No copyright infringement intended. The rights of this song/composition go to their respective owners.
**I’m talking about the recordings**

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Great Compositions/Performances: W. A. Mozart – Symphony No. 41 “Jupiter” in C major, K. 551 (1788)


W. A. MozartSymphony No. 41 “Jupiter” in C major, K. 551 (1788):
1. Allegro vivace, 4/4
2. Andante cantabile, 3/4 in F major
3. Menuetto: Allegretto – Trio, 3/4
4. Molto allegro, 2/2

The Chamber Orchestra of Europe
Conductor – Nicolaus Harnoncourt
Grosser Musikvereinsaal Wien

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Sergei Rachmaninoff – Scherzo in D minor


V. Polyansky – Russian State SO

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Fabulous Compositions: Antonín Dvořák – Humoresque No. 7, Op. 101



Conductor: Jiři Stárek
Orchestra: SWR Rundfunkorchester Kaiserslautern

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Great Compositions/Performances: “The Wild Dove” , Antonin Dvorak , Alexander Rahbari with London Philharmonic Orchestra


The Wild Dove op.110 (Symphonic poem)
Composer : Antonin Dvorak
Conductor :Alexander Rahbari
London Philharmonic Orchestra , Henry Wood Hall 
Sound Engineer : Mike Clements

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Make Music Part of Your Life Series: Antonín Dvořák – Legends, Op. 59 [Ingryd Thorson & Julian Thurber, piano]



Ingryd Thorson & Julian Thurber, piano

Antonín Dvořák – Legends, Op. 59

1. Allegretto non troppo, quasi andantino [D minor] 3’03
2. Molto moderato [G major] 4’08
3. Allegro giusto [G minor] 4’11
4. Molto maestoso [C major] 5’30
5. Allegro giusto [A flat major] 4’16
6. Allegro con moto [C sharp minor] 4’21
7. Allegretto grazioso [A major] 2’14
8. Un poco allegretto e grazioso, quasi andantino [F major] 3’16
9. Andante con moto [D major] 2’27
10. Andante [B flat minor] 3’14

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Great Compositions/Performances: Smetana, Kubelik: Ma Vlast (The Moldau, 2/6)


From:  Ma Vlast:
II: Vltava (The Moldau)

Bedrich Smetana, composer
Chicago Symphony Orchestra, Rafael Kubelik
Studio Recording, 1952 (Mercury Living Presence)

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Most Beautiful Music: Dvořák Symphony No 9 “New World” Celibidache, Münchner Philharmoniker, 1991



Dvořák – Symohony No. 9 in E minor op. 95 “From The New World”
Münchner Philharmoniker conducted by Sergiu Celibidache
Recorded 1991
1. Adagio – Allegro molto
2. Largo
3. Scherzo. Molto vivace
4. Allegro con fuoco

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Make Music Part of Your Life Series: Antonín Dvořák – Slavonic Dances, Op. 46



Royal Philharmonic Orchestra, John Farrer

Antonín Dvořák – Slavonic Dances, Op. 46
1. No.1 in C major 4’00
2. No.2 in E minor 6’00
3. No.3 in A flat major 5’22
4. No.4 in F major 7’59
5. No.5 in A major 3’16
6. No.6 in D major 5’15
7. No.7 in C minor 3’34
8. No.8 in G minot 4’05
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Make Music Part of Your Life Series: Antonin Dvorak – Symphonic Variations, Op. 78



In this 2004 studio recording, Theodore Kuchar conducts the Janacek Philharmonic Orchestra.

If you’re interested in buying the 3-CD set, it is available at Arkivmusic:
http://www.arkivmusic.com/classical/D…

And at Amazon:
http://www.amazon.com/Dvor%C3%A1k-Sym…

The CD set also includes Dvorak‘s Czech Suite, Carnival Overture, Golden Spinning Wheel, and Otello.
—————————————-­—————————————-­-
Here is the link to the image (which isn’t mine) featured in this video:
http://www.publicdomainpictures.net/v…

This recording of Dvorak’s Symphonic Variations is owned by Brilliant Classics.

 

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Make Music Part of Your Life Series: The Moldau/Vltava by Bedřich Smetana – Symphonic poem from “Ma Vlast- My Country”



Vltava- Ma Vlast:  Bedřich SmetanaSymphonic poem
The London Symphony Orchestra,  Alfred Scholz 
conducting

 

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Edvard Grieg – Humoresque op 6 no 1



Tempo di Valse. From Edvard Grieg – Anniversary Collection recorded by Norwegian Pianist Knut Erik Jensen

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Make Music Part of Your Life Series: Itzhak Perlman Bach Violin Sonata No.1 BWV 1001


Buy “Sonatas and Partitas, Sonata No. 1 in G Minor, BWV 1001: Adagio” on

Google PlayAmazonMP3iTunes

Artist

 

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Make Music Part of Your Life Series: Antonin Dvorak: Humoresque #7 in Gb Op 101/7: Yo Yo Ma, Itzhak Perlman


Humoresques (Czech: Humoresky), Op. 101 (B. 187), is a piano cycle by the Czech composer Antonín Dvořák, written during the summer of 1894. One writer says “the seventh Humoresque is probably the most famous small piano work ever written after Beethoven‘s Für Elise[1]

History
During his stay in America, when Dvořák was director of the Conservatory in New York from 1892 to 1895, the composer collected many interesting musical themes in his sketchbooks. He used some of these ideas in other compositions, notably the “From the New World” Symphony, the “American” String Quartet, the Quintet in E Flat Major, and the Sonatina for Violin, but some remained unused.

In 1894 Dvořák spent the summer with his family in Bohemia, at Vysoká u Příbrami. During this “vacation”, Dvořák began to use the collected material and to compose a new cycle of short piano pieces. On 19 July 1894 Dvořák sketched the first Humoresque in B major, today number 6 in the cycle. However, the composer soon started to create scores for the pieces that were intended to be published. The score was completed on 27 August 1894.
The cycle was entitled Humoresques shortly before Dvořák sent the score to his German publisher F. Simrock. The composition was published by Simrock in Autumn, 1894.
The publisher took advantage of the great popularity of the seventh Humoresque to produce arrangements for many instruments and ensembles. The piece was later also published as a song with various lyrics. It has also been arranged for choir.[2] The melody was also used as the theme of Slappy Squirrel in the popular animated television show Animaniacs. In 2004 the vocal group Beethoven’s Wig used Humoresque as the basis for a song entitled Dvořák the Czechoslovak.
Structure
The cycle consists of eight pieces:

  1. Vivace (E♭ minor)
  2. Poco andante (B major)
  3. Poco andante e molto cantabile (A♭ major)
  4. Poco andante (F major)
  5. Vivace (A minor)
  6. Poco allegretto (B major)
  7. Poco lento e grazioso (G♭ major)
  8. Poco andante—Vivace–Meno mosso, quasi Tempo I (B minor)

The main theme of the first Humoresque was sketched in New York on New Year’s Eve 1892, with the inscription “Marche funèbre” (sic).[3] The minor theme was accompanied with the inscription “people singing in the street”. The opening theme of the fourth piece was also sketched in New York, among ideas intended for the unrealized opera Hiawatha. The “American” style is also apparent in other themes of the Humoresques.[4]

Buy “Humoresque No. 7 in G-flat Major, Op. 101″ on

Google PlayAmazonMP3iTune
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Make Music Part of Your Life – Series: Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141


Antonín DvořákSymphony No. 7 in D minor, Op. 70, B. 141
1. Allegro maestoso 12’42
2. Poco adagio-F major 10’21
3. Scherzo, vivace poco meno mosso 7’49
4. Finale, allegro 9’49
****The work, at approximately 40 minutes in length, is scored for an orchestra of 2 flutes, 2 oboes, 2 clarinets in A and B♭, 2 bassoons, 4 horns in D and F, 2 trumpets in C, D, and F, 3 trombonestimpani and strings***

Slovak Philharmonic Orchestra, Zdenek Kosler

From Wikipedia, the free encyclopedia
 
 

Title page of the score of Dvořák’s seventh symphony, with portrait of Hans von Bülow

Symphony No. 7 in D minor, Op. 70, B. 141, by Antonín Dvořák (published as No. 2) was first performed in London on April 22, 1885 shortly after the piece was completed on March 17, 1885.

Composition history

Dvořák’s work on the symphony began on December 13, 1884. Dvořák heard and admired Brahms‘s new 3rd Symphony, and this prompted him to think of writing of a new symphony himself. So it was fortuitous that in that same year the Philharmonic Society of London invited him to write a new symphony and elected him as an honorary member. A month later, after his daily walk to the railway station in Prague, he said “the first subject of my new symphony flashed in to my mind on the arrival of the festive train bringing our countrymen from Pest”. The Czechs were in fact coming to the National Theatre in Prague, where there was to be a musical evening to support the political struggles of the Czech nation. He resolved that his new symphony would reflect this struggle. In doing so the symphony would also reveal something of his personal struggle in reconciling his simple and peaceful countryman’s feelings with his intense patriotism and his wish to see the Czech nation flourish.

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GREAT COMPOSITIONS/PERFORMANCES: Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philarmonic



Great presentation of the Great Wiener Philharmoniker conducted by Herbert von Karajan, playing the 9th Symphony of Antonin Dvorak “From the new world”. 

Gran presentación de la Filarmónica de Viena conducida por Herbert von Karajan, interpretando la novena sinfonía de Antonin Dvorak “Sinfonía del Nuevo Mundo”.

(C) Telemonde 1992, UMG and all their respective owners. No commercial use of this material.

(0:37) 1st mvt (Adagio, Allegro Molto)
(10:42) 2nd mvt (Largo)
(23:30) 3rd mvt (Scherzo, Molto Vivace)
(32:07) 4rth mvt (Allegro con fuoco)

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Great Compositions/Performances: Isaac Stern Plays Dvorak’s Violin Concerto in A minor op. 53, Eugene Ormandy Conduction The Philharmonia Orchestra (the year is 1965)



Great Compositions/Performances: Isaac Stern Plays Dvorak’s Violin Concerto in A minor op. 53, Eugene Ormandy Conduction The Philharmonia Orchestra (the year is 1965)

Isaac Stern

Cover of Isaac SternRelated articles

Eugene Ormandy

Cover of Eugene Ormandy

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Great Performances: Valentina Nafornita – RUSALKA



Valentina Nafornita, Rusalka (Dvorak), 12.12.2009, Romanian Atheneum. Romanian National Youth Orchestra, conducted by Cristian Mandeal
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Great Compositions/Performances: Ruggiero RICCI plays WIENIAWSKI Scherzo-Tarantelle Op.16 – 1980


Henryk Wieniawski ( July 10, 1835 Lublin, Cong...

Henryk Wieniawski ( July 10, 1835 Lublin, Congress Poland, Russian Empire – March 31, 1880 Moscow) was a Polish composer and violinist. (Photo credit: Wikipedia)

Henryk WIENIAWSKI: Scherzo-Tarantelle, in G minor Op.16 (1855)
Ruggiero RICCI, violin – Joanna Gruenberg, piano (rec: 1980)
________________________________________­__________
full CDhttp://www.youtube.com/playlist?list=…

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UNFORGETTABLE COMPOSITIONS: Antonín Dvořák – Water Goblin, Op. 107 Dedicated to all my friends writing for the best among us – children of the world: be inspired!


Antonín Dvořák – Water Goblin,
Op. 107

The Water Goblin (CzechVodník; initially published by N. Simrock with the English title The Water-Fay) is a symphonic poemOp. 107 (B. 195), written by Antonín Dvořák in 1896.

The source of inspiration for The Water Goblin was a poem found in a collection published by Karel Jaromír Erben under the title Kytice. Four of the six symphonic poems that Dvořák composed were inspired by works of poetry found in that collection.

Poem

Vodník tells a story in four parts of a mischievous water goblin who traps drowning souls in upturned teacups.[1][2]

  • A water goblin is sitting on a poplar by the lake, singing to the moon and sewing a green coat and red boots for his wedding soon to come.
  • A mother tells her daughter of a dream she had about clothing her daughter in white robes swirling like foaming water and with pearls of tears hiding deep distress around her neck. She feels this dream was a presentiment and warns her daughter not to go to the lake. Despite the mother’s warnings, the daughter is drawn to the lake as if possessed and leaves for the lake to do her laundry. The moment she hands down her first garment into the water, the bridge on which she was sitting collapses. As the water engulfs her she is abducted by the malevolent water goblin who lives there.
  • He takes her to his underwater castle and marries her with black crayfish for the groomsmen and fishes for her bridesmaids. After the birth of their first child, the abducted wife sings it a lullaby, which enrages the water goblin. She tries to calm him down and pleads to be allowed ashore to visit her mother once. He gives in on three conditions: She is not to embrace a single soul, not even her mother; she has to leave the baby behind as a hostage; and she will return by the bells of the evening vespers.
  • The reunion of mother and daughter is very sad but full of love. When evening falls the distraught mother keeps her daughter and forbids her to go even when the bells are ringing. The water goblin becomes angry, forsakes his lair in the lake and thumps on the door ordering the girl to go with him because his dinner has to be made. When the mother tells him to go away and eat whatever he has for dinner in his lair, he knocks again, saying his bed needs to be made. Again the mother tells him to leave them alone, after which the goblin says their child is hungry and crying. To this plea the mother tells him to bring the child to them. In a furious rage the goblin returns to the lake and through the shrieking storm screams that pierce the soul are heard. The storm ends with a loud crash that stirs up the mother and her daughter. When opening the door the mother finds a tiny head without a body and a tiny body without a head lying in their blood on the doorstep of her hut.

Composition

Dvořák’s symphonic piece, which is written in the form of a rondo,[3] follows Erben’s written verses remarkably closely; in many places the text fits literary to Dvořák’s music.[4] This may well be a result of the fact that Dvořák derived his themes from putting Erben’s words to music. This way Dvořák produced 7 themes, mostly four bars long for this symphonic poem.

First the water goblin is introduced with a four bar theme starting three repeated notes. These three repeats prove to be vital for the whole composition: Most other themes start with three repeats, the timpani gives a three beat rhythm to the section where the girl wants to go to the lake, the church bells ring three times each at eight o’clock, the water goblin knocks three times on the door.

Second the daughter is introduced with a lovely innocent theme, where the triangle gives her a sparkling twinkle in her eyes. However nice this theme may sound the basis is the same three repeat that formed the basis for the goblin theme. The great difference is in the way they are played: the goblin is in a staccato form presented, where all three notes are short and distinctive of sound, and the girl has a legato played theme, where the three notes are played long, and almost glide over in each other.

The third theme introduces the mother with a suspense theme in b minor which makes the mood even more sad. Again her theme starts with three notes, though the rhythm of the notes is turned around. The suspense is formed by the chromatism in the secondary theme. Later on Dvořák uses these two themes the other way around, as if the secondary theme becomes the primary, and primary the secondary.[5]

The next section Dvořák changes from the minor to the B major key to indicate the persistent state of mind of the daughter when she heads off to the lake. In this section an important role has been given to the timpani, who play a solo, even though its to be played less loud then the rest of the orchestra.[6] They again play the three note repeats, but Dvořák makes a variation on it as well. He changes from three 8th notes to five 16th notes and back and forth and so on. He might have wanted to show the spell the daughter is under, but for sure it makes the coming apocalypse more vivid then if he had only used the original 3 beats. This section ends with a ritardando (slow down), so the listener is prepared for a sudden fast and short swirl in the violins when the bridge cracks.

The next section starts with a sudden E-C-G chord, as the girl hits the water. Dvořák changes key back to b minor for the water goblin theme, and he speeds up the tempo to a lively allegro vivo, which depicts the swirling waters engulfing the girl, for which Dvořák uses as well the Russian device of a descending whole tone scale[7][8] and the diabolic delight of the water goblin.[9]

The Water Goblin is scored for piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 2 tubas, timpani, bass drum, cymbals, triangle, tam-tam, bells and strings.

The work had its full public premiere in London on 14 November 1896. It had received a semi-public performance on 1 June 1896 at the Prague Conservatory under Antonín Bennewitz.[10]

Letter to Hirschfeld

For the Austrian première in Vienna by the Vienna Philharmonic under Hans Richter on 22 November 1896, Dr. Robert Hirschfeld was asked to write the program notes. For this occasion Dvořák composed a letter stating his intentions and musical solutions for the translation of Erbens poem into music.[11]

  • Allegro vivace : The water goblin (flutes) alone.
  • Andante sostenuto : The girl (clarinet) and her mother (violins), who tells the girl of a bad dream and warns her not to go near the lake.
  • Allegro vivo : The girl ignores the warning (violins and oboes) and falls into the lake, and into the hands of the watergoblin.
  • Andante mesto come prima : The misery of the underwater world.
  • Un poco più lento e molto tranquillo : the girl sings a lullaby for her baby (flute and oboe).
  • Andante : The water goblin tells her to stop singing in a fury and they have a quarrel, which ends that the girl is permitted to go visit her mother, but has to be back before the bells of the vespers.
  • Lento assai : The girl goes home to her mother (cellos and trombones), where they have a sad reunion.
  • Allegro vivace : The storm on the lake, the church bells are heard after which knocking on the door and eventually a loud bang when the goblin throws the dead child against the door.
  • Andante sostenuto : croaking frogs (piccolo and flutes), the mother’s moaning about that Friday, which was an unlucky day (cor anglais and bass clarinet), the mother’s terrible distress (oboes, cellos and basses). The water goblin’s mysterious disappearance into the depth of the lake.

 

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Antonín Dvořák – Bagatelles, Op. 47



Alberni String Quartet.
Howard Davis, violin.
Peter Pople, violin.
Roger Best, violin/viola.
David Smith, cello.
Virginia Black, harmonium

Antonín Dvořák – Bagatelles, Op. 47
1. Allegretto scherzando 2’59
2. Tempo di menuetto, grazioso 3’16
3. Allegretto scherzando 2’56
4. Canon, andante con moto 3’27
5. Poco allegro 4’21

 

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Antonín Dvořák – From the Bohemian Forest, Op. 68


Published on Sep 23, 2012

Ingryd Thorson & Julian Thurber, piano

Antonín Dvořák – From the Bohemian Forest, Op. 68

  • In the Spinning Room,  Allegro molto [D major] 
  • By the Black Lake,  Lento [F sharp minor/major] 
  • Walpurgis Night,  Molto vivace [B falt major] 
  • In Wait,  Allegro comodo [F major
  • Silent Woods,  Lento e molto cantabile [D flat major
  • From Troubled Times,  Allegro con fuoco [A minor]

 

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