La production de musique de chambre d?Antonín Dvorák englobe plus de quarante ?uvres. Sans doute doit-il en grande partie le fait que sa notoriété ait franchi aussi rapidement les frontières de la Bohème aux nombreux amateurs de musique exigeants qui prenaient plaisir à jouer ses ?uvres. En effet il était très courant au 19e siècle de jouer de la musique chez soi. Les ?uvres romantiques de Dvorák pour violon et piano op. 75 furent également conçues pour être jouées dans un cercle privé. La présente édition Urtext de l?op. 75 repose sur le manuscrit autographe de Dvorák. La préface donne de nombreux détails sur la genèse de cette ?uvre conçue au départ comme un trio à cordes.Cette édition a été préparée avec la précieuse collaboration du spécialiste de Dvorák Milan Pospísil.

from opus 46-En 1878 Antonín Dvorák composa une série de huit danses slaves. Contrairement à Brahms Dvorák s?est contenté d?emprunter aux danses de son pays natal leurs caractéristiques rythmiques. Wil van der Beek a réalisé un arrangement de deux d?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.

The present edition of the Scottish Dances Op.41 (1877) by Antonín Dvorák is based on a version for piano four hands published by Berlin publisher Bote and Bock in 1893.This has been compared with the critical edition of the original version for two hands included in the Complete Edition of the Works of Antonín Dvorák. The editors strove to make the interpretation of this piece easier for young pianists by revising the dynamics adding pedal markings and convenient fingerings and by introducing minute changes into the actual notation which bring the edition somewhat closer to the original version for two hands.

for optional Soprano and Concert Band-En 1880 Antonín 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.

It was the ?Slavonic Dances for Piano Duet? op. 46 which brought Antonín Dvorák unexpected international fame. An unerring business instinct led Fritz Simrock, at the beginning of 1878, to ask the Czech composer for some works for piano duet into which Dvorák incorporated musical themes from where he grew up. Following in the footsteps of Brahms?s ?Hungarian Dances?, Dvorák refrained from a literal portrayal of individual kinds of dance. As a result, he created unique masterpieces of European music for domestic use and concert performance.'
'
This edition of both series of the ?Slavonic Dances? is based on the ?Complete Edition of the Works of Antonín Dvorák?. The main sources are the first editions published by Simrock.'
'
- Separate editions of these works based on the ?Complete Edition of Antonín Dvorák's Works?, vol. V/5'
- New forewords (Cz/Eng/Ger) by Hans-Joachim Hinrichsen and Ivana Rentsch'
- Newly engraved in score format / [Dances Slaves pour Piano 4 Mains Opus 46] / Classique / Partition /

It was the ?Slavonic Dances for Piano Duet? op. 46 which brought Antonín Dvorák unexpected international fame. An unerring business instinct led Fritz Simrock, at the beginning of 1878, to ask the Czech composer for some works for piano duet into which Dvorák incorporated musical themes from where he grew up. Following in the footsteps of Brahms?s ?Hungarian Dances?, Dvorák refrained from a literal portrayal of individual kinds of dance. As a result, he created unique masterpieces of European music for domestic use and concert performance.'
'
This edition of both series of the ?Slavonic Dances? is based on the ?Complete Edition of the Works of Antonín Dvorák?. The main sources are the first editions published by Simrock.'
'
- Separate editions of these works based on the ?Complete Edition of Antonín Dvorák's Works?, vol. V/5'
- New forewords (Cz/Eng/Ger) by Hans-Joachim Hinrichsen and Ivana Rentsch'
- Newly engraved in score format / [Danses Slaves pour Piano 4 Mains Opus 72] / Classique / Partition /

Like Dvorák's third and fourth quartets (in D major and E minor respectively), String Quartet #2 in B-flat major was probably composed between 1868 and 1870, when the young and still inexperienced composer was openly responding to stimuli from his musical surroundings and excitedly adopting new compositional techniques. All three quartets were long considered lost - it was even said that Dvorák destroyed them. But copies of the parts resurfaced in the archive of the Prague Conservatory and have served as the principal source for this new publication.This edition presents the musical text from the 'Antonín Dvorák Complete Edition?, together with a new foreword by Hartmut Schick.- Musical text based on the 'Antonín Dvorák Complete Edition?, volume IV/5- New foreword by Hartmut Schick (Ger/Cz/Eng) / Quatuor A Cordes

Par DVORAK ANTONIN. On 18 January 1887 Antonín Dvorák (1841–1904) started composing his Romantic Pieces for violin and piano, opus 75 (B 150), completing that version on 25 January. They were performed for the first time in a private house two days later, with the composer writing to his publisher in Berlin: ‘Played here yesterday and very well received.’ For this edition reference has been made to a copy of the original manuscript and to the first edition. The small number of bow markings in the violin part of the piano score are original and have been left unaltered. These four contrasting movements are a welcome addition to the violin repertoire and a very effective alternative to Dvorák’s large-scale violin works, the Concerto in A minor and Romance in F minor. / Niveau : Avancé / Répertoire / Violon et Piano