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| Symphonie Nr. 8 (DVORAK
ANTONIN)
Orchestra [Sheet music]
Barenreiter
G major. Par DVORAK ANTONIN. Flute-picc, Flute (2), Oboe (2), Clarinet in b-mino...(+)
G major. Par DVORAK ANTONIN. Flute-picc, Flute (2), Oboe (2), Clarinet in b-minor (2), Bassoon (2), Bugle (4), Trumpet (2), Trombone (3), Tuba, Timbal, Strings/ Répertoire / Orchestre
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | | |
| Antonín Dvo?ák:
Nocturne In B Op.40 For
String Quintet: String
Quartet: Score
String Quartet: 2 violins, viola,
cello
Barenreiter
Nocturne B Major Op.40 for Violin (2) Viola Violoncello Double Bass.This piec...(+)
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.
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| DVORAK ANTON - FIVE
MORAVIAN DUETS B 107
Choeur et ensemble vocal
BARENREITER
Dvorák, Antonín
Five Moravian Duets B 107
Arrangement for 4 Female V...(+)
Dvorák, Antonín
Five Moravian Duets B 107
Arrangement for 4 Female Voices a cappella by the Composer
- First scholarly-critical edition
- The popular “Moravian Duets” in an arrangement by the composer
- Ideal for professional as well as amateur singers (female choir)
- With Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor
Dvorák composed the cycle “Moravian Duets” for two female voices with piano accompaniment at the request of the Prague wholesale merchant Jan Neff in 1876. This was a turning point in the career of the then still unknown composer: it marked the beginning of his lifelong collaboration with the Simrock publishing house and opened the way to international recognition.
In March 1880, Dvorák arranged five songs from this cycle for four female voices a cappella. The occasion was a concert to support the construction of the Prague National Theatre, at which the composer conducted his own works.
The “Five Moravian Duets” now appear for the first time in a scholarly-critical edition. The autograph serves as the main source; secondary sources consist of transcriptions by an unknown hand which include corrections by the composer. / Partitions classique / Vocale - chorale / Choeur et ensemble vocal / BARENREITER
Pre-shipment lead time: On order | | |
| Dvorak A. - Concerto In
G Minor Op.33 - 2 Pianos
2 Pianos, 4 hands
Barenreiter
Dvorák, Antonín Concerto for Piano and Orchestra G minor op. 33 B 63 - New Urt...(+)
Dvorák, Antonín Concerto for Piano and Orchestra G minor op. 33 B 63 - New Urtext edition of Dvorák?s only piano concerto - Commentary on performance practice by Czech pianist Ivo Kahánek (Eng/Cz/Ger) - Piano reduction by Karel ?olc adapted to fit this new edition Edition no. BA 10420-90 ISMN 9790260108394 Composed in 1876, Dvorák?s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form. The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel ?olc.
Pre-shipment lead time: On order | | |
| Antonín Dvo?ák:
Humoreske Ges-Dur: Piano:
Instrumental Work
Piano solo [Sheet music]
Barenreiter
With his ?Humoresken? for piano Antonin Dvorak wanted to tie in with the older ?...(+)
With his ?Humoresken? for piano Antonin Dvorak wanted to tie in with the older ?Schottische Tänze? op. 41 (B 74) from 1877 to create a series of ?Neuer Schottischer Tänze? (original title of the cycle). Even though the transcription
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