Tag Archives: dvorak

American Suite – 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.



The suite is written in five movements, each with a marked rhythm:

  1. Andante con moto
  2. Allegro
  3. Moderato (alla pollacca)
  4. Andante
  5. Allegro

Analysis and receptionEdit

As often is the case with
Dvořák, the orchestral version gives the work a new breadth. The cyclic
aspects of Dvořák’s composition are apparent, in that the principal
theme of the first movement recurs during the conclusion of the work.
This opening theme is marked by his American-influenced style. It is difficult to determine whether it comes from the typical folk music of the New World or simply from the music of the Czech emigrants, to which the Dvořák liked to listen during his stay in the United States.

This mix of American influence with Slavic tradition is also
perceptible in the rhythm of the “alla Polacca” third movement, and in
the last movement’s themes native to the Far East, played by flute and oboe in unison, where the orchestra passes easily from the minor theme to the major one.

Far from any exoticism, the art of Dvořák’s orchestral work is in the field of pure music, and it is undoubtedly for this reason that Brahms
appreciated it. Even in New York, when Dvořák encouraged his pupils to
work on their own folk melodies, it was authentic recreation of the
popular folk musics that he called for.

Appearances in popular cultureEdit

Along with several other works by Dvořák (including some of the Slavonic Dances and the second movement of the New World Symphony), the first movement, Andante con moto is part of the sound track to Sid Meier’s Civilization IV.
The allegro was used in the trailer for The Elder Scrolls II Daggerfall.


  1. Klaus Döge, Grove

References and further readingEdit

  • Döge, Klaus: “Antonín Dvořák”, Grove Music Online, ed. L. Macy (Accessed December 16, 2006), (subscription access)

See also

External links

historic musical bits: Dvorak “Legend op 59 No 1” Fritz Lehmann

Dvorak “Legend op 59 No 1” Fritz Lehmann

Amazing Music /performances: Dvorak : In Nature’s Realm Overture op 91

Dvorak : In nature’s realm ouverture op 91

Dvořák / String Quartet No. 12 in F major, Op. 96 “American” (Cleveland Quartet, (Telarc, 1991), great compositions/perofrmances)

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

Antonin Dvorak: Antal Dorati “Prague Waltzes”, great compositions/performances

Antal Dorati “Prague Waltzes” Dvorak

A Thanksgiving Present for all my friends #euzicasa: Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philharmonic

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

Dvorak – Symphony No.3 & 4, Op.10 & 13|great compositions/performances

DvorakSymphony No.3 & 4,

Op.10 & 13

Antonín Dvořák – String Quartet in E flat major, Op. 51 ‘Slawisches’ |great compositions/performances

Antonín DvořákString Quartet in E flat major, Op. 51 ‘Slawisches’

Dvorak The Wild Dove 1, Symphonic poem Op 110: make music part of your life series

Dvorak The Wild Dove 1, Symphonic poem Op 110

(“The Wilde Dove: Symphonic poem, B.198, Op.110” by Royal Liverpool Philharmonic Orchestra/Libor Pesek (AmazonMP3))

Dvořák Symphony No 9 “New World” Celibidache, Münchner Philharmoniker, 1991: great compositions/performances

Dvořák Symphony No 9 “New World” Celibidache, Münchner Philharmoniker, 1991

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

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

Antonín Dvořák -Scherzo Capriccioso, Op. 66: great compositions/performances

Antonín Dvořák -Scherzo Capriccioso, Op. 66

A perfect one hundred percent, poetic thought, ©by George-B Always (the smudge and other poems)

A perfect one hundred percent, poetic thought,
by George-B

In some non mysterious yet natural way
I failed to understand the way you are,

look up toward the heavens above in search of
a sign
anything to
lean on
A cotton cloud
and again understanding,
that is comprehensive,
that cleanses like
a non-acid summer rain as they used to be before…
You are so obvious, yet-yet  I always failed to give you
what you needed, to give you…
so I just gave you back you riddle and
tried to behave meanwhile as if I understood you
completely, as if I knew the puzzling cross-word by heart
as if I ace every SAT question, one and all,
a perfect one hundred percent.

(©by George-B Always

Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philarmonic : great compositions/performances

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

Dvorak – Piano Concerto in G minor, Op.33-Rudolf Firkusny: make music part of your life series

From   wittekjmusic  wittekjmusic

Dvorak – Piano Concerto in G minor, Op.33-Rudolf Firkusny:


The concerto has three movements:

  1. Allegro agitato
  2. Andante sostenuto in D major
  3. Allegro con fuoco: G minor →G major

Rudolf Firkušný was a Czech-born 11 February 1912 — 19 July 1994) , American classical pianist.Born in Moravian Napajedla, Firkušný started his musical studies with the composers Leoš Janáček and Josef Suk, and the pianist Vilém Kurz. Later he studied with Alfred Cortot and Artur Schnabel. He began performing on the continent of Europe in the 1920s, and made his debuts in London in 1933 and New York in 1938. He escaped the Nazis[citation needed] in 1939, fled to Paris, later settled in New York and became a U.S. citizen. Firkušný had a broad repertoire and performed with skill the works of Mozart, Beethoven, Chopin and Brahms as well as Debussy and Mussorgsky. However, he became known especially for his performances of the Czech composers Bedřich Smetana, Antonín Dvořák, Leoš Janáček, and Bohuslav Martinů (who wrote a number of works for him), as well as recordings of the complete piano works of Janáček. Continue reading

Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141: great compositions/performances

Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141

Slovak Philharmonic Orchestra, Zdenek Kosler

Antonín Dvořák – Symphony No. 7 in D minor, Op. 70, B. 141
1. Allegro maestoso 12’42
2. Poco adagio 10’21
3. Scherzo, vivace 7’49
4. Finale, allegro 9’49

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….

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


Antonín Dvořák -Scherzo Capriccioso, Op. 66

Royal Philharmonic Orchestra, Paavo Järvi


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

Instead, poetic thought by George-B. (my poetry collection: “The Smudge and other poems” Page))

Instead, poetic thought by George-B.


Of heroic return to sanity
On a tree branch
I chose a steady
Pass all sane, not quite so heroic,
yet sane,
less firecrackers for the 4th,


rather virtual kaleidoscope
paintings, and Fotoshetcher application of
Creativity, on the music of Dvorak, Chopin, and
about another few dozens composers
hundred of songs:
All love flowing
like a spring,
continuously flowing,
uninterrupted by unexpected fireworks at midnight
on the 3rd, 4th and well into the 5th:
lets keep it virtual



lets keep it real instead, instead, instead…

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.

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)





**** 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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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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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.

Robert Keller (1828-1891)

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

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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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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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: 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:

And at Amazon:

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:

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


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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]

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.
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

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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/Performance: Trio in E minor Op.90 “Dumky”, Oistrakh, Oborin, Knushevitsky

A. Dvořák, Trio in E minor Op.90 “Dumky“, Oistrakh, Oborin, Knushevitsky

1. Lento maestoso
2. Andante – Vivace non troppo
3. Andante moderato
4. Allegro
5. Lento maestoso – Vivace

David Oistrakh Violin
Lev Oborin Piano
Sviatoslav Knushevitsky Violoncello


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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
Related articles

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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.


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.


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 – Symphony No. 3 in E flat major, Op. 10

Symfonie č. 3 Es dur, Op. 10

00:00 Allegro moderato
11:33 Adagio molto, tempo di marcia
28:27 Finale. Allegro vivace

Czech philharmonic orchestra, Václav Neumann

Česká filharmonie, Václav Neumann
Symphony no.3 in E flat major was premiered by Bedřich Smetana in 1874. It was a great moment for young Dvořák, because it was his first big score played in public. You can heard in this symphony typical dvořák’s melodies but also some inspiration from Liszt or Wagner (work with motives, harmonies).


FABULOUS PERFORMANCES: A. Dvorak – Slavonic dance No. 2 in E minor op. 72

A. Dvorak – Slavonic dance No. 2 in E minor op. 72

Violin: Itzhak Perlman
Cello: Yo-Yo Ma
Conductor: Seiji Ozawa


Antonín Dvořák – Carnival Overture, Op. 92 Janácek Philharmonic Orchestra, Theodore Kuchar

This is the “Life” part of the “Nature, Life and Love” trilogy. Performed by SYO Philharmonic led by acclaimed conductor, composer and educator Brian Buggy OAMhttp://syo.com.au

The Carnival Overture, Opus. 92, B. 169, was written by Antonin Dvořák in 1892. It is part of a “Nature, Life and Love” trilogy of overtures written by Dvořák, forming the second “Life” part. The other two parts of the trilogy are overture in a trilogy of overtures that included In Nature’s Realm, Op. 91 (“Nature”) and Othello, Op. 93 (“Love”).

The overture is scored for two flutes, piccolo, two oboes, english horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba,timpani, triangle, cymbals, tambourine, harp and strings.


A. Dvořák, Trio in E minor Op.90 “Dumky”, Oistrakh, Oborin, Knushevitsky

A. Dvořák, Trio in E minor Op.90 “Dumky”, Oistrakh, Oborin, Knushevitsky

1. Lento maestoso
2. Andante – Vivace non troppo
3. Andante moderato
4. Allegro
5. Lento maestoso – Vivace

David Oistrakh Violin
Lev Oborin Piano
Sviatoslav Knushevitsky Violoncello


Antonin Dvorak – Slavonic Dances [Op. 46 & Op. 72]

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**


Slavonic Dance No. 2, Op. 46 Antonin Dvorak (and the Lesser Traveled Road…A perfect marriage!)

"Lesser Traveled Road'-oil painting (my Art Collection)

“Lesser Traveled Road’-oil painting (my Art Collection)

This song is performed by the “Berlin Festival Orchestra”, and Composed by Antonin Dvorak. He was a Czech composer of Romantic music, who employed the idioms of the folk music of Moravia and his native Bohemia. His works include operas, symphonic, choral and chamber music. His best-known works include his New World Symphony, the Slavonic Dances, “American” String Quartet, and Cello Concerto in B minor.

Dvorak was commissioned by the publisher Simrock to compose a sequel to the Brahms “Hungarian Dances“, since that collection had put a considerable chunk of change into his pocket, and he relished the idea of repeating the pleasurable experience with the less expensive composer.


Antonin Dvorak – Silent Woods (“Waldesruhe”), B. 182 (for cello and orchestra (Antonin Dvorak never fails to make feel fortunate that I am music Lover: He is so kind to his listeners!)


Just a thought:    “Antonin Dvorak never fails to make feel fortunate that I am  music Lover: He is so kind to his listeners!”


Antonín Dvořák – Slavonic Dances, Op. 46

Royal Philharmonic Orchestra, John Farrer
Antonín DvořákSlavonic 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 minor 4’05


Václav Talich, 1954 (Live) Dvořák, Holoubek, B. 198 (op. 110) (The Wild Dove)

Antonín Dvořák
Holoubek, B. 198 (op. 110)
(The Wild Dove)

Česká filharmonie (Czech Philharmonic)
Václav Talich, conductor
Recording Live, 17 May 1954
Smetana Hall
Prague Spring International Music Festival

George Szell, 1960 – Dvořák, Symphony No. 7 in D minor, Op. 70

Antonín Dvořák
Symphony No. 7 in D minor, Op. 70, B. 141

1.Allegro maestoso
2.Poco adagio
3.Scherzo: Vivace — Poco meno mosso
4.Finale: Allegro

Cleveland Orchestra 
George Szell, conductor
Recorded, 18-19 March 1960
Severance Hall, Cleveland.

Buy “Symphony No. 7 in D minor, Op. 70: I. Allegro maestoso” on

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George Szell;The Cleveland Orchestra


Dvořák – Czech Suite, Op. 39 (playlist)

Czech Suite (Böhmische Suite), Op. 39

bust at Antonín Dvořák's tomb, Vyšehrad, Prague

bust at Antonín Dvořák’s tomb, Vyšehrad, Prague (Photo credit: Wikipedia)

Composer: Antonín Dvořák (1841-1904)
Conductor: John Eliot Gardiner
Orchestra: North German Radio Symphony Orchestra

Adolf Čech conducted the first performance in Prague on May 16, 1879

I. Preludium (Pastorale) – Allegro moderato
II. Polka – Allegretto grazioso
III. Sousedská (Minuetto) – Allegro giusto
IV. Romance (Romanza) – Andante con moto
V. Finale (Furiant) – Presto

Antonín Dvořák Humoresque- RAGTIME Piano version and the original version (choose your treat!)

Dvorak Slavonic Dance No.1 – Wiener Philharmoniker -S. Ozawa

 Dvorak’s Slavonic Dance No.1 In c. (Live Performance with Vienna Philharmonic conducted by Seiji Ozawa)

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