Anton n Dvo ák was a Czech composer. Following the nationalist example of Bed ich Smetana Dvo ák frequently employed aspects specifically rhythms of the folk music of Moravia and his native Bohemia. Dvo ák 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 .The Piano Concerto for Piano and Orchestra in G minor Op. 33 was the first of three concertos that the Czech composer completed it was followed by a Violin concerto and then a Celloconcerto and the Piano Concerto is probably the least known and least performed.This Bosworth edition of the solo Piano part of Dvo ák s Piano Concerto is a perfect addition of an underappreciated piece to any pianists repertoire.
SKU: BT.DHP-1084580-010
9x12 inches. English-German-French-Dut ch.
Als die alte Mutter (Songs My Mother Taught Me) is the fourth of Anton n Dvo_ák’s Gypsy Songs (Opus 55), a cycle he composed in the year 1880. This moving song was written to a German poem by Adolf Heyduk, and in the course of time, it has been performed and recorded by great singers like Nellie Melba, Joan Sutherland and Renée Fleming. The appealing melody is known to a large public. In this edition, two versions have been combined: an instrumental adaptation of the song, and an adaptation for soprano with a concert band accompaniment - both made by Tohru Takahashi.Als die alte Mutter (Songs My Mother Taught Me) is het vierde van Anton n Dvoøáks Zigeunerliederen (opus 55), een cyclus die hij componeerde in het jaar 1880. Het ontroerende lied is geschreven op een Duits gedicht van AdolfHeyduk en het is in de loop der tijd uitgevoerd en opgenomen door grote zangeressen als Nellie Melba, Joan Sutherland en Renée Fleming. De aansprekende melodie is bekend bij een groot publiek. In deze uitgave zijn twee versies gecombineerd:een instrumentale uitvoering van het lied en een uitvoering voor sopraan met begeleiding van harmonieorkest - beide van de hand van Tohru Takahashi.Als die alte Mutter ist der vierte Titel aus Anton n Dvoráks Liederzyklus Zigeunermelodien (opus 55) von 1880. Über die Jahre hinweg wurde die Melodie von großen Sängerinnen, wie Joan Sutherland und Renée Fleming weithin bekannt gemacht. Hier wurden zwei Versionen kombiniert: eine instrumentale Bearbeitung des Liedes und eine für Sopran mit Blasorchesterbegleitung - beide stammen von Tohru Takahashi. En 1880, Anton n Dvorák compose un cycle de mélodies inspirées par la vie rurale auquel il donne le titre de Mélodies tziganes Op. 55. Als die alte Mutter (Songs My Mother Taught Me - Chansons que ma mère me chantait) est le quatrième des sept chants du cycle. Cette mélodie profonde et émouvante souligne toutes les inflexions du poème en langue allemande du célèbre poète tchèque Adolf Heyduk. Plusieurs générations de brillantes sopranos dont Nellie Melba, Joan Sutherland et Renée Fleming ont interprété et enregistré cette mélodie, si bien qu’elle est connue d’un large public.Cette édition combine deux versions : une version purement instrumentale et uneadaptation pour Soprano solo et Orchestre d’Harmonie. Les deux versions ont été réalisées par Tohru Takahashi.
SKU: AP.48071S
UPC: 038081557601. English.
This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental-- -free of charge. Tongue-in-cheek and beautiful, Bottom of the Ninths is the perfect way to delve into these masterworks with young players in a fun context! All sections remain in 1st position, in the key of D major, with no high 3's or low 1's as the melodies are passed throughout the orchestra. Easy to play and showcasing the beauty of these great composers, this piece, arranged by Bob Phillips, would shine at a festival or contest. The medley features Take Me Out to the Ball Game; the opening theme from Schubert's Symphony No. 9 which is, of course, at the beginning of that work; the famous Going Home theme from the middle of Dvorák's Symphony No. 9; and the Ode to Joy theme from Beethoven's Symphony No. 9, which is at the end, or the bottom, of the 9th. Correlated to Sound Innovations for String Orchestra, Book 1, Level 5. (2:30) This title available in MakeMusic Cloud.
SKU: AP.48071
UPC: 038081557595. English.
This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental-- -free of charge. Tongue-in-cheek and beautiful, Bottom of the Ninths is the perfect way to delve into these masterworks with young players in a fun context! All sections remain in 1st position, in the key of D major, with no high 3's or low 1's as the melodies are passed throughout the orchestra. Easy to play and showcasing the beauty of these great composers, this piece, arranged by Bob Phillips, would shine at a festival or contest. The medley features Take Me Out to the Ball Game; the opening theme from Schubert's Symphony No. 9 which is, of course, at the beginning of that work; the famous Going Home theme from the middle of Dvorák's Symphony No. 9; and the Ode to Joy theme from Beethoven's Symphony No. 9, which is at the end, or the bottom, of the 9th. Correlated to Sound Innovations for String Orchestra, Book 1, Level 5. (2:30) This title is available in MakeMusic Cloud.
SKU: GI.G-1050
UPC: 785147005025.
Conve rsational Solfege is a curriculum for developing music literacy skills. It is organized around increasingly complex rhythmic and melodic content. Each new rhythmic or melodic element is discovered first in patterns and then reinforced with folk songs, rhymes, and classical examples. This CD provides 29 classical selections referenced in Conversational Solfege Level 3. These examples provide reinforcement for emerging literacy skills, and they also enable students to listen to wonderful classical examples with greater attention. Listening to classical music can be challenging for elementary students. With nothing to hang onto, the many notes can be too much to comprehend and attention soon wanes. But with minimal literacy skills, students will have enough musical information to discover that classical music can be accessible and appealing. In the booklet, timings are given for each selection. The portions of the music that are readable by the students are reproduced. Whether using this CD with Conversational Solfege instructional materials or simply as a resource of classical music with simple-to-read rhythmic and melodic material, both teachers and students will delight in discovering this wonderful music through literacy.  CONTENTS Conversational Solfege Unit 14: 1. March of the Toreadors • Georges Bizet, 2. Slavonic Dance • AntonÃn Dvorák, 3. Russian Dance • Igor Stravinsky, 4. Dance of the Reed Pipes • Peter Tchaikovsky Conversational Solfege Unit 15: 5. Morning • Edvard Grieg, 6. Minuet • George Frideric Handel, 7. Waltz • Johann Strauss II, 8. Minuet in G • J. S. Bach Conversational Solfege Unit 18: 9. Westminster Chimes, 10. Ode to Joy • Ludwig van Beethoven Conversational Solfege Unit 20: 11. The Moldau • Bedrich Smetana, 12. The Wild Horseman • Robert Schumann, 13. Anitra’s Dance • Edvard Grieg Conversational Solfege Unit 22: 14. Violin Concerto in D • Ludwig van Beethoven, 15. Symphony No. 6 • Ludwig van Beethoven, 16. Roses from the South • Johann Strauss II, 17. Symphony No. 1 • Johannes Brahms, 18. Polovtsian Dance • Alexander Borodin, 19. Eine Kleine Nachtmusik • Wolfgang Amadeus Mozart, 20. Etude for Piano • Frédéric Chopin Conversational Solfege Unit 23: 21. Natoma’s Dagger Dance • Victor Herbert Conversational Solfege Unit 24: 22. Ground in D Major • Henry Purcell Conversational Solfege Unit 25: 23. Violin Concerto in D • Ludwig van Beethoven, 24. Sumer Is Icumen In, 25. Symphony No. 9, “From the New World†• Antonin Dvorak Conversational Solfege Unit 26: 26. Pachelbel Canon • Johann Pachelbel, 27. Kaiser Waltz • Johann Strauss II, 28. Marmotte • Ludwig van Beethoven, 29. Autumn — Four Seasons • Antonio Vivaldi John M. Feierabend, PhD, has spent decades compiling songs and rhymes from the memories of the American people, in hopes that those treasures would be preserved for future generations. Those resources have served as the basis of his two music education curricula: First Steps in Music and Conversational Solfege. John Feierabend is Professor Emeritus and former Director of Music Education at The Hartt School of the University of Hartford.
SKU: BT.DHP-1114864-140
In 1878, on a commission from his publisher, Anton n Dvorák wrote a series of eight Slavonic dances. Modelled on Johannes Brahmsâ?? famous Hungarian Dances, although in contrast to Brahmsâ?? work, Dvorák used no original melodies. Wil van der Beek has arranged No. 7, a brisk 2/4 dance, as well as No. 8, a passionate, exuberant furiant in 3/4. In 1878 schreef Dvoøák op verzoek van zijn uitgever een serie van acht Slavische dansen. Daarbij zouden de beroemde Hongaarse dansen van Brahms als voorbeeld moeten dienen. Dvoøák had echter zijn eigen opvattingover het kunstzinnigvormgeven van (volks)dansen. Waar Brahms meerdere bestaande melodieën van dansen uitHongarije gebruikte, beperkte Dvoøák zich tot karakteristieke ritmische patronen van dansvormen uit zijn vaderland. Oorspronkelijk zijn de Slavischedansen gecomponeerd voor klavier vierhandig. Vrij spoedig maakte Dvoøák zelf een versie voor orkest, waarmee hij wereldroem vergaarde. Het succes was zo groot (zeker ook in financieel opzicht voor de uitgever!) dat een tweedeserie van acht dansen volgde: opus 72 in het oeuvre van Dvoøák.Kenmerken:Dans nr. 4 (Tempo di menuetto, 3/4 maat)Dit is een feestelijke, vrolijke sousedská (te beschouwen als de Tsjechische variant op het menuet), een driedeligedans waarvan de hoekdelen gracieus zijn en het middendeel voor een levendig contrast zorgt.Dans nr. 7 (Allegro assai, 2/4 maat)Dvoøák lijkt hier ge nspireerd te zijn geweest door een snelle dans genaamd skocná. Het hoofdthemawerkt humoristisch doordat het in de vorm van een canon wordt gepresenteerd.Dans nr. 8 (Presto, 3/4 maat)Dit is een temperamentvolle furiant, vol vreugde en uitgelatenheid, gevolgd door een rustiger middendeel, datuitmondtin een zeer krachtig en snel slot.Im Jahre 1878 schrieb Anton n Dvorák im Auftrag seines Verlegers eine Reihe von acht slawischen Tänzen. Als Vorbild dienten die beru?hmten Ungarischen Tänze von Johannes Brahms, im Gegensatz zu diesem verwendete Dvorák jedoch keine originalen Melodien. Wil van der Beek bearbeitete fu?r dieses Arrangement die Nr. 7, einen schnellen Tanz im 2/4-Takt, sowie die Nr. 8, einen leidenschaftlichen, u?berschwänglichen Furiantâ?? im 3/4-Takt. En 1878, Anton n Dvorák composa une série de huit danses slaves. Contrairement Brahms, Dvorák sâ??est contenté dâ??emprunter aux danses de son pays natal leurs caractéristiques rythmiques. Wil van der Beek a réalisé un arrangement de deux dâ??entre elles : la danse n° 7, une vive skocná dont le thème mélodique est écrit en forme de canon et la danse n° 8, fougueuse et énergique qui est menée presto. La partie centrale est apaisée. Le _x001C_finale est vif et puissant.Nel 1878 Antonin Dvorák compone su commissione una serie di otto danze slave. Anche se le celebri Danze Ungheresi di Brahms gli servirono da modello, Dvorák non utilizzò melodie originali. Wil van der Beek ha arrangiato la Danza n.7 caratterizzata da un tempo veloce in 2/4 e la Danza n. 8, un furiant passionale in 3/4.
SKU: BT.DHP-1114864-010
Anton n Dvo ák was a Czech composer. Followi...(+)
Anton n Dvo ák was a Czech composer. Following the nationalist example of Bed ich Smetana, Dvo ák frequentl y employed aspects, specifically rhythms,of the folk music of Moraviaand his native Bohemia. Dvo ák’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’
SKU: BT.DHP-1135511-070
ISBN 9789043149235. 9x12 inches.
MODERATO, QUASI MARCIA is the first movement from the Serenade in D minor op. 44 for winds, violoncello and bass by Antonin Dvorak.Moderat o, quasi marcia is het eerste deel van Serenade in D minor opus 44 voor blazers, cello en bas van Anton n Dvoák, genaamd Grande Serenade in een bewerking voor klarinetensemble. Moderato, quasi marcia ist der erste von vier Sätzen aus der Serenade in d-moll op. 44 für Bläser, Violoncello und Kontrabass von Antonin Dvorak. Instrumentation 1 - Conductor 1 - Eb Clarinet 2 - Bb Clarinet 1 2 - Bb Clarinet 2 2 -Bb Clarinet 3 2 - Bb Clarinet 4 1 - Eb Alto Clarinet 1 - Bb Bass Clarinet 1 - Bb Contrabass ClarinetModera to, quasi marcia est le premier des quatre mouvements qui composent la Sérénade en Ré mineur opus 44 pour vents, violoncelle et contrebasse, dite Grande sérénade, d Antonin Dvorak. Instrumentation : Cla. Mi/Cla. Si 1, 2& 3/Cla. Alto/Cla. Basse/Cla. Contralto Mi/Cla. Contrebasse Si.Moderato, quasi marcia è il primo dei quattro movimenti che compongono la Serenata in re minore opus 44 per fiati, violoncello e contrabbasso, detta Grande serenata, composta da Anton n Dvoák. Strumentazione : Cla. Mi/Cla. Si 1, 2 & 3/Cla. Alto/Cla. Basso/Cla. Contralto Mi/Cla. Contrabbasso Si.
SKU: BT.DHP-1084580-140
Als die alte Mutter (Songs My Mother Taught Me) is het vierde van Anton n Dvoøáks Zigeunerliederen (opus 55), een cyclus die hij componeerde in het jaar 1880. Het ontroerende lied is geschreven op een Duits gedicht van AdolfHeyduk en het is in de loop der tijd uitgevoerd en opgenomen door grote zangeressen als Nellie Melba, Joan Sutherland en Renée Fleming. De aansprekende melodie is bekend bij een groot publiek. In deze uitgave zijn twee versies gecombineerd:een instrumentale uitvoering van het lied en een uitvoering voor sopraan met begeleiding van harmonieorkest - beide van de hand van Tohru Takahashi.Als die alte Mutter ist der vierte Titel aus Anton n Dvoráks Liederzyklus Zigeunermelodien (opus 55) von 1880. Über die Jahre hinweg wurde die Melodie von großen Sängerinnen, wie Joan Sutherland und Renée Fleming weithin bekannt gemacht. Hier wurden zwei Versionen kombiniert: eine instrumentale Bearbeitung des Liedes und eine für Sopran mit Blasorchesterbegleitung - beide stammen von Tohru Takahashi. En 1880, Anton n Dvorák compose un cycle de mélodies inspirées par la vie rurale auquel il donne le titre de Mélodies tziganes Op. 55. Als die alte Mutter (Songs My Mother Taught Me - Chansons que ma mère me chantait) est le quatrième des sept chants du cycle. Cette mélodie profonde et émouvante souligne toutes les inflexions du poème en langue allemande du célèbre poète tchèque Adolf Heyduk. Plusieurs générations de brillantes sopranos dont Nellie Melba, Joan Sutherland et Renée Fleming ont interprété et enregistré cette mélodie, si bien qu’elle est connue d’un large public.Cette édition combine deux versions : une version purement instrumentale et uneadaptation pour Soprano solo et Orchestre d’Harmonie. Les deux versions ont été réalisées par Tohru Takahashi.
SKU: BA.BA11523
ISBN 9790260108578. 31 x 24.3 cm inches. Key: E-flat major.
When AntonÃn Dvorák started composing his String Quartet No. 10 in late 1878, none of his quartets had yet been performed. However this new work, deliberately cast in the “Slavonic†style, quickly achieved international renown and has remained among one of the most popular string quartets by Dvorák.The authoritative Dvorák scholar Hartmut Schick has consulted all accessible sources, most notably the printed score published by Simrock and the autograph. Now, after many decades, a definitive Urtext edition of this major work can be presented. In comparison to the old Supraphon edition of 1955, the new publication includes a detailed Critical Commentary (Eng) as well as edited early versions of the middle movements in the appendix. A detailed Foreword (Ger/Cz/Eng) by the editor is also contained.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.291713
UPC: 888680927936. 6.75x10.5 inches.
Anton&iacut e;n Dvorák wrote his 9th Symphony From the New World while he was the director of the National Conservatory of Music of America. He was directly influenced by Harry T. Burleigh, a student at the National Conservatory at the time. The musical theme from the Largo movement was adapted into the spiritual-like “Goin' Home” by Dvorák pupil William Arms Fisher. This beautiful melody along with the powerful lyrics are here set in an African American gospel style, including a quote from the spiritual “Deep River.&rdquo.
SKU: BA.BA11564
ISBN 9790260109148. 31 x 24.3 cm inches. Key: B-flat major. Preface: David R. Beveridge.
The discovery of a lost source to AntonÃn Dvorák's â??Nocturneâ? in B major op. 40 provides new insights into the genesis of the composition and the composer's intended final form of this lyrical little piece for string orchestra.The musical material of what was later to be named â??Nocturneâ? was initially elaborated in the String Quartet in E minor; subsequently it was used in the original version of the String Quintet in G major as its second movement. However Dvorák then extracted it again, expanding and editing it afresh. The final result was the â??Nocturneâ? for string orchestra (two violins, viola, violoncello, double bass). The first edition was published by Bote and Bock in 1883.The authorized second copy of the work that had served as a template for the first printing was discovered by the editor Jonáš Hájek in a privately owned collection. This enabled him to resolve the several ambiguities caused by the existence of multiple versions and to unveil the authentic â??Nocturneâ?.
