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His most famous pieces of music include the Ninth Symphony (From the New World), the Cello Concerto, the American String Quartet, the Slavonic Dances, and the opera Rusalka. This article constitutes a list of Dvořák's known works organized by their genre. They are in chronological order, referenced by Burghauser number.
incidental music for the play by František Ferdinand Šamberk 125a: 62/0: 1882: Domov můj C dur, předehra ke hře Josef Kajetán Tyl: My Home in C major: orchestra: overture to the play Josef Kajetán Tyl, B. 125 126: 63: 1882: V přírodě: In Nature's Realm: mixed chorus: 5 choruses after poems by Vítězslav Hálek: 127: 64: 1881–82 ...
Described by Šourek as "one of the loveliest and most profound slow movements in Dvorak's creation". Molto vivace in B minor and 3 4 time More like a rondo, with episodes in A-flat major and D major for trios, than a typical scherzo (as is more often found in this place in a string quartet in the Romantic music era). Finale.
The Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 (Czech: Symfonie č. 9 e moll "Z nového světa"), also known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895.
Antonín Dvořák (right) with friends and family in New York in 1893, four years before he composed A Hero's Song. A Hero's Song was Dvořák's last orchestral work and the final of his five symphonic poems, the others being The Water Goblin, The Noon Witch, The Golden Spinning Wheel, and The Wild Dove (Opp. 107–110). [3]
About Serenade for Winds on a comprehensive Dvorak site; Serenade for Wind Instruments: Scores at the International Music Score Library Project; Performance of Serenade for Winds by the Gardner Chamber Orchestra conducted by Douglas Boyd, from the Isabella Stewart Gardner Museum in MP3 format
The first movement starts off the Serenade in the key of E major. The second violins and cellos introduce the lyrical main theme over an eighth note pulse in the violas.The theme is traded back and forth, and the second violins reprise it under a soaring passage in the firsts.
Music critic Daniel Felsenfeld describes the form as follows: The form of the piece is structurally simple but emotionally complicated, being an uninhibited Bohemian lament . Considered essentially formless, at least by classical standards, it is more like a six movement dark fantasia —completely original and successful, a benchmark piece for ...