Dvorák's Slavonic Dances, Op. 46 is the first of two sets of dances inspired by the composer's Bohemian folk-music roots. There are eight duets in this volume, each one displaying rhythmic energy and lyricism. Based on the original edition, this volume includes performance notes, editorial fingering, and suggested metronome marks. Any one of the Op. 46 Dances is a Federation Festivals 2016-2020 selection. A Federation Festivals 2020-2024 selec...
Dvorák's Slavonic Dances, Op.72 is the second of two sets of dances inspired by the composer's Bohemian folk-music roots. There are eight duets in this volume, each one displaying rhythmic energy and lyricism. Based on the original edition, this volume includes performance notes, editorial fingering, and suggested metronome marks. Any one of the Op. 72 Dances is a Federation Festivals 2016-2020 selection. A Federation Festivals 2020-2024 selec...
The principal theme from the second movement of this symphony is equal in fame and popularity to Pachelbel's Canon and Albinoni's Adagio. This incredibly simple and beautiful theme has been arranged here for an interchangeable woodwind ensemble.
Dvorák komponierte sein ambitioniertes Streichquartett in C-Dur op. 61 im Herbst 1881 im Auftrag von Joseph Hellmesberger sen., dem Konzertmeister der Wiener Philharmoniker und Primarius des Hellmesberger Quartetts. Der Auftraggeber tat es jedoch als "schwaches Werk" ab und spielte es nie öffentlich. Vielmehr fand die Uraufführung ein Jahr später in Berlin mit dem Joachim Quartett statt.Dvorák dagegen hielt sein Quartett op. 61 für "das größte...
Dvorák komponierte sein ambitioniertes Streichquartett in C-Dur op. 61 im Herbst 1881 im Auftrag von Joseph Hellmesberger sen., dem Konzertmeister der Wiener Philharmoniker und Primarius des Hellmesberger Quartetts. Der Auftraggeber tat es jedoch als "schwaches Werk" ab und spielte es nie öffentlich. Vielmehr fand die Uraufführung ein Jahr später in Berlin mit dem Joachim Quartett statt.Dvorák dagegen hielt sein Quartett op. 61 für "das größte...
Antonín Dvorák komponierte seine vorletzte und bekannteste Oper "Rusalka" in nur sieben Monaten zwischen April und November 1900. Die Uraufführung fand am 31. März 1901 am Nationaltheater Prag unter Karel Kovarovic statt. Heute gehört "Rusalka" zu den meistgespielten Werken der internationalen Opernszene.Mehr als sechzig Jahre nach der kritischen Edition von Jarmil Burghauser erscheint nun eine neue kritische Ausgabe, die den Notentext der Ope...
Faithful to the original, Richard Meyer's arrangement of Dance No. 7 retains Dvorák's bold and brilliant orchestration, with exciting and meaningful parts for every instrument. Your students and audience will love the immediately appealing melodies, the delightful shifts from major to minor modes, and the imaginative canonic effects that permeate this work. (3:30)
Faithful to the original, Richard Meyer's arrangement of Dance No. 7 retains Dvorák's bold and brilliant orchestration, with exciting and meaningful parts for every instrument. Your students and audience will love the immediately appealing melodies, the delightful shifts from major to minor modes, and the imaginative canonic effects that permeate this work. (3:30)
What a fantastic introduction to full orchestra and to this beloved music by Dvorák! All instruments have exciting parts. The dramatic opening in the strings and the dark theme in the brass will captivate students. (2:30)
What a fantastic introduction to full orchestra and to this beloved music by Dvorák! All instruments have exciting parts. The dramatic opening in the strings and the dark theme in the brass will captivate students. (2:30)
The principal theme from the second movement is equal in fame and popularity to Pachelbel's Canon and Albinoni's Adagio. This incredibly beautiful melody can now be performed by a high school level ensemble. The flugelhorn performs the principal theme and the first trumpet and trombone have a great duet passage in the middle section. Arranged for brass choir by David Marlatt, this is a must as a change of pace on every brass program.
Originally composed in 1887 for soli, chorus and organ, Dvorak expanded this outstanding work in 1892 for a British concert featuring a large choir and full orchestra. The premiere was given on March 11, 1893 in London's Crystal Palace with August Manns conducting the Crystal Palace Choir and orchestra. The study score offered here is a newly researched and engraved edition prepared by Richard W. Sargeant, Jr. The large score and orchestral pa...
