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It is of over 45 minutes' duration, making it Dvorak's second-longest chamber work. [ 1 ] [ 2 ] [ 3 ] The parts and score were included in the Souborné vydání díla (complete critical edition), series 4, volume 5, dated 1962 [ 4 ] and published by Barenreiter in 2014.
The original songs are clearly recognisable in these string quartet arrangements, with melodic line, rhythm and harmony unchanged. For No.11, Dvořák changed the key, and half of them he extended by repetition, mostly with some interchange of allocation of lines to the different instruments.
The Tragic Overture, B. 16a (also called the Dramatic Overture; Czech: Tragická ouvertura or Dramatická ouvertura) is an orchestral composition written in 1870 by the Czech composer Antonín Dvořák.
Symphony No. 7, antonin-dvorak.cz; About the Composition, Symphony No 7 in D minor, from the Kennedy Center; Symphony No. 7: Scores at the International Music Score Library Project; The original (longer) 2nd movement of 1885 can be heard here; Conductor score and parts on espace-midi.com, free scores engraved with LilyPond
Humoresques (Czech: Humoresky), Op. 101 (B. 187), is a piano cycle by the Czech composer Antonín Dvořák, written during the summer of 1894.Music critic David Hurwitz says "the seventh Humoresque is probably the most famous small piano work ever written after Beethoven's Für Elise."
Herbert, Peter J. F.; Trufitt, Ian T. Antonin Dvořák complete catalogue of works, (The Dvořák Society occasional publications no. 4), 4th revised edition, 2004.The Dvořák Society for Czech and Slovak Music. pp. 30–31.
The title page of the autograph score of the Miniatures for two violins and viola, later rearranged as the Romantic Pieces for violin and piano. Antonín Dvořák composed his cycle of four Romantic Pieces, Op. 75, B. 150, (Czech: Romantické kusy), for violin and piano in January 1887.
Antonín Dvořák's Piano Trio No. 2 in G minor, Op. 26 (B. 57), is a chamber composition, written in 1876. [1] The trio was written shortly after the death of his eldest daughter Josefa, and although Dvorak never wrote that the piece was intended as a memorial it is generally regarded as such. [2]
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