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.'
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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.'
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- 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 /

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

From The Bohemian Forest a set of six character pieces for Piano duet was written at the turn of the year 1883-84 at the instigation of Dvo ák?s publisher Fritz Simrock and appeared in print in the spring of 1884. After the Slavonic Dances and Legends this was already his third cycle of piano duets to be inspired by much-loved locations.This edition presents the musical text from the Complete Edition of the Works of Anton n Dvo ák Series V/6. It includes a new Foreword by Ivana Rentsch and Hans-Joachim Hinrichsen assessing the latest findings in Dvo ák scholarship.- Popular Piano miniatures which can be played individuallyand are ideal as encore pieces.- New Foreword by Ivana Rentsch and Hans-Joachim Hinrichsen (Ger/Cz/Eng).- Well-presented division of Primo and Secondo parts printed on facing pages.Contents:1. In the Spinning-Room (Na p ástkách)2. By the Black Lake (U erného jezera)3. Walpurgis Night (Noc filipojakubská)4. In Wait (Na ekán )5. Silent Woods (Klid)6. From Troublous Times (Z bou livých dob)

Para Piano A Cuatro Manos-Composed in 1941 and dedicated to Antonio Tovar and Jesus Rubio Joaquin Rodrigo’s Gran Marcha De Los Subsecretarios for Piano four hands combines classic march elements with modern harmonies creating a unique and fun piece. Duration approximately 4:30 minutes.Joaqu n Rodrigo was a Spanish composer and a virtuoso pianist. Rodrigo's music is among the most popular music of the 20th century in particular his Concierto de Aranjuez is considered one of the pinnacles of Spanish music and of the Guitar concerto repertoire. Although distinguished by having raised the Spanish Guitar to dignity as a universal concert instrument and bestknown for his Guitar music the blind composer never mastered the instrument himself.

In 1878 Dvorák was commissioned to write something along the lines of Brahms?s ?Hungarian Dances? but using the sounds of his native country. The resulting eight ?Slavonic Dances? led to hisinternational breakthrough. ?Furiant? ?polka? ?soudeská?: all are written with consummate mastery and dazzling formal sophistication. Although the ?Slavonic Dances? also became popularin orchestral arrangement they were originally written for Piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honour the centennial of his death we are presenting hisoriginal version with a detailed commentary on the work?s sources and editorial problems. The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon toperformers everywhere.

Following the great success of the Slavonic Dances Op. 46 the publisher Simrock was extremely happy when Dvo ák presented him with the prospect of a new cycle for Piano Four Hands the ?Legends? inOctober 1880. Barely a year was to pass before the new work was published. Shortly before this Dvo ák and Simrock had travelled to Karlsbad with the proofs where the Viennese music critic Eduard Hanslick was taking thewaters. They played through the work together and proofread it. Hanslick was delighted and even became the dedicatee of these ten charming pieces. Later he wrote in a review of the Legends that one felt a?sense of pleasure? that ?feels doubly good in our pessimistic times?.