Opus 81 has long been one of the pieces of chamber music most frequently played internationally.

The present edition is based on the ?Complete Edition of the Works of Antonín Dvorák?, the new detailed foreword is by David Beveridge.

? One of the most frequently played chamber music works
? New detailed foreword by David Beveridge (Cz/Eng/Ger) / [Quintet pour Piano La Majeur Opus 81] / Classique / Partition / Agrafé /

Early piano quintet for Piano 2 Violins Viola VioloncelloIn 1887 Anton n Dvorák revised several of the works he had composed in the 1860s and 1870s most of which he then published for the first time.In this context he asked the music critic Ludev t Procházka to return a manuscript copy of the Piano Quintet in A major Op.5 (B 28) composed 15 years earlier. But after thoroughly revising the work he declined to publish it; instead he wrote a new piano quintet in the same key the famous Op.81. And so the manuscript copy he requested from Procházka remains the sole source for this early piece of chamber music.Dvorák?s first Piano Quintet in A majorwas never published during his lifetime. This edition presents the musical text from the ?Complete Edition of the Works of Anton n Dvorák? Volume IV/11.Now with a new detailed Foreword (Eng/Cz/Ger) by David R. Beveridge

String Quartet E Flat Major Op. 51. When Dvo?ák suddenly became internationally famous in 1878 with his Slavonic Dances, he received, among other things, a request for a new string quartet from Jean Becker, the first violinist of the renowned Florentine Quartet. The composer promptly began working in December 1878 and was able to complete the new piece three months later. Dvo?ák complied in a special way with the wish for a composition in ?Slavonic style?: each of the four movements is informed by melodies and rhythms in the style of Czech folk dances and songs. Since then, opus 51 has not only ranked among the most important works in Dvo?ák?s ?Slavonic period?, but also among the most popular in his chamber music oeuvre in general. Besides the first editions of the score and parts, all surviving autograph sources were consulted for this Henle Urtext edition.

Arrangement for Viola and Piano-?Sooner or later the ?Romantic Pieces? will pave their way through all the salons?: thus the periodical Dalibor predicted when the ?Romantic Pieces? op. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorák?s most popular works for violin and piano. Now they are being made available for violists also.Bella and Semjon Kalinowsky have arranged the four pieces on the basis of the ?Complete Edition of the Works of Anton n Dvorák?. The piano part of the original version remains while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.With theirentrancing melodies and poetry these pieces pose few technical challenges and are thus easy to play.

La durée de vie de Josef Suk (1874-1935), le célèbre compositeur et violoniste professionnel, a été fortement influencé par son appartenance à la célèbre 'Quatuor tchèque' (fondée en 1892). Suk faisait partie du quatuor jusqu'en 1933, se produisant dans près de quatre mille concerts.Le Quatuor à cordes n o 1 en si bémol majeur op. 11 (1896) est la première composition aux côtés de l'op Serenade. 6, qui a été publié par Simrock à la suite de la médiation par Suk père-frère, Antonín Dvorák. Dvorák a examiné ce travail du jeune musicien à être 'le meilleur que je connaisse de lui.' Suk a réécrit le quatrième mouvement, vingt ans après son achèvement, parce qu'il n'était pas satisfait de la version originale. En dépit de son utilisation du même matériau thématique, la nouvelle version se distingue donc nettement que ce mouvement est souvent effectué sur lui-même.La principale source de la forme originale du quatuor était la deuxième édition de Simrock. Pour la version alternative de la Finale de la présente édition est basée sur une partition et les parties marquées avec des corrections Suk.- Avec une préface commentaires (Cz / Eng / Ger) et critique (Eng)- Comprend également la dernière version du quatrième mouvement de 1915 / 2 Violons, Alto Et Violoncelle

Streichquartett C-dur Opus 61. Composed in autumn of 1881, Opus 61 is the last of Dvorák?s ?middle? quartets by chronology for which Beethoven and Schubert served as the most significant models. Beethoven?s influence, from thematic development to motivic treatment, is particularly noticeable in this work in C major. It is only in the finale that the typical Slavic tonal quality usually found in Dvorák?s music surfaces somewhat more prominently. Due to a lack of time, the composer - contrary to his usual practice - turned to older, either discarded or hitherto unpublished themes from other works for three of the four movements. This reliable Urtext edition continues the comprehensive Henle series of significant works of chamber music by Dvorák.

During his time in America (1892-95) Dvorák suffered with homesickness. It was whilst living in New York that he began his String Quartet In A Flat Major but he did not complete the piece until afterhis return to Bohemia in December 1895.There is no trace of the influence of Indian or African-American music in this his final chamber work; rather the piece is striking for the amount of cantabile themes and motives and their contrasting and artistic treatment. It seems that his relief at seeing his children and family again directly influenced the work. Dvorák himself wrote in a letter during its composition that 'Almighty God hasgranted us this cheerful moment and thus we all feel unutterably happy'.This Henle publication is the first Urtext edition of the Quartet since 1955.

Dvorák n'avait que vingt ans quand il écrivit son Quatuor à cordes n o 1 en la majeur, op. 2 (1862). Le travail est considéré comme le deuxième compositeur travail le plus important, après le Quintette à cordes en la mineur op. 1.Dvorák ne sont pas retournés au travail sur op. 2 jusqu'à 1887, quand il a été la révision de ses premières oeuvres. Il a supprimé les sections de ce quatuor substantielle n'épargnant que le Scherzo, les autres mouvements, où tous coupés par près d'un tiers. Le travail a finalement été créée par des musiciens d'orchestre du Théâtre national, mais une édition imprimée n'a pas été publié avant le milieu du 20e siècle.Cette nouvelle édition Bärenreiter présente le texte musical principal de l'édition complète de 1989, qui donne à l'oeuvre dans sa forme définitive, après la révision de Dvorák. L'édition est basée sur le manuscrit autographe et sur les pièces manuscrites.- Avec la nouvelle préface (Cz / Eng / Ger), qui sont basées sur les recherches les plus récentes / 3 Violons, Alto Et Violoncelle

This quartet sometimes known as The American was written inside a fortnight in June 1893 while Dvorák and his family were staying in the Czech settlement al Spilleville Iowa. At the end of the score he wrote: Thanks be to God. I am satisfied: It went quickly.

The collection of twelve pieces for String Quartet Cypresses is a loose paraphrase of the original cycle of love songs bearing the same name which Dvorak produced when he was twenty-four. Later on he re-wrote some of the songs and incorporated them into other song cycles; he took a larger selection and recreated them in 1887 as lyrical miniatures for String Quartet. Cypresses in this form less still the original song version were never published during the composer's lifetime. This set of parts was published as part of the first Complete Critical Edition of Works by Antonin Dvorak. Also available miniature scoreH3392.

Nocturne B Major Op.40 for Violin (2) Viola Violoncello Double Bass.This piece was originally one of two slow movements from String Quintet in G major Op.18 dating from 1874. Dvorak later removed it from the quintet and after various revisions offered it to the Berlin publisher Bote & Bock as an independent work entitled Nocturne.Apart from this version for String Orchestra there also exist versions for Violin and Piano and for four-hand Piano. This title is part of the first Complete Critical Edition of Works by Antonin Dvorak.

This quartet was written in 1893 during Dvorak’s stay in America as director of the National Conservatoire of Music in New York. The influence of Negro melodies and of deep homesickness is apparent throughout the work but most noticeably in the expressive melody of the second movement.Available here is the set of performance parts for Dvorak's String Quartet No.12 In F American Op.96.

Nr. 7 Aus Jazz-Like. Partita Für Klavier. Par SCHULHOFF ERWIN. Der österreichisch-ungarische Komponist Erwin Schulhoff (1894?1942) war musikalisch frühreif: Auf Empfehlung Antonín Dvoráks erhielt er Klavierunterricht mit sieben Jahren, wurde mit zehn Jahren Schüler im Prager Konservatorium. Weitere Klavierstudien in Wien, Köln und Leipzig sowie Kompositionsunterricht bei Max Reger ergänzten seine Ausbildung. Seine jüdische Herkunft, durch die seine Musik als ?entartet? diffamiert wurde, und seine Sympathie für den Kommunismus kosteten ihm allerdings das Leben: In Prag und schließlich im bayerischen Wülzburg bei Weißenburg interniert, starb er an Tuberkulose. Schulhoffs musikalische Bedeutung liegt in der Integration des Jazz in die Kunstmusik, etwa in seinem Oratorium H.M.S. Royal Oak oder in seiner Hot Sonate für Alt-Saxophon und Klavier. Er selbst verdiente sich lange Zeit seinen Lebensunterhalt als Jazzpianist. Im August 1922 entstanden vier kurze Klavierstücke, seine Rag Music, denen er im November noch vier weitere Sätze hinzufügte: veröffentlicht als Partita, die auch als Jazz-like-Partita bekannt wurde ? mit den damaligen Modetänzen Ragtime, Foxtrott, Shimmy, Boston und ? als Nr. 7 ? ein Tango. Vom Klavier- in einen Streichquartett-Satz gewandelt, präsentiert sich das Arrangement als ein delikates und pfiffiges, spieltechnisch nicht allzu schwieriges Bonbon, geeignet als Abwechslung oder Zugabe in einem Quartett-Programm. / Niveau : Intermédiaire / Répertoire / Quatuor à Cordes

20 Easy to Intermediate Pieces from four Centuries. Par NEUMANN EVA-MARIA (Arr.). Making music in a quartet uniquely nurtures young string players’ musical development, ensemble playing, listening to each other, and intonation. So, what could be more obvious than introducing the scoring of this genre, often referred to as chamber music’s supreme discipline, as early as possible. Indeed, composers have all along advised the classical string quartet’s outstanding compositions, but they are hardly easy to play for beginners. Here, with the present collection, is where Eva-Maria Neumann comes in. The two volumes include A total of 20 easy to intermediate arrangements of pieces from Bach to Bartók, together with specifically composed ones in string-quartet friendly keys - Reading scores and individual parts - additionally, individual part for violin III instead of viola - Tips on warming up, intonation, bowing, fingering, tempos, dynamics, and playing musically - Specific instructions for the individual pieces - Lists of supplementary original literature The pieces are also effective as scored for chorus./ Recueil / Quatuor à Cordes