Arranged For Violoncello and Piano-In 1891 Dvorák arranged the final eighth dance of his popular first set of the Slavonic Dances Op.46 for violoncello and piano. The Czech composer Jir Gemrot born in 1957 has followed his example and has arranged the remaining dances for the same scoring. However in order to approach Dvorák?s ideal sound Gemrot based his arrangements on the composer's orchestral score.Dvorák?s own arrangement of Slavonic Dance No. 8 has been taken from the Complete Edition of the Works of Anton n Dvorák Volume IV/3 (Compositions for Violoncello).First complete edition of the first set of Slavonic Dances arranged for violoncello and pianoby Jir GemrotIncludes Dvorák?s own arrangement of Dance No.8With fingering and bowing by Tomá? Jamn kForeword (Cz/Eng/Ger) by Eva Velická

This Slavonic Dance Op.72 No.2 A superb work for Piano 4-Hands by Antonin Dvorak. Full of energy and feeling Dvorak's wonderful Dances are delightful Piano pieces treats for the player and listener. Sometimes know as the Slavonic Dance No.10

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 /

Slavonic Dances op. 72 for Piano Four-hands-With the publication of the second volume all of the ?Slavonic Dances? are now available in Urtext. Following the resounding success of the first series op. 46 which immediately made the composer famous around the world thepublisher urged him to write more. Dvo ák only got down to work on them eight years later announcing ?I think these will be very different?. And indeed the difference cannot be missed: the second series is singled out bygreater formal freedom and more colourful harmony. Whereas Opus 46 is for the most part characterised by sparkling high spirits (HN757) in Opus 72 there are also quieter notes: melancholy and poetry find their way into theexuberant dance.

for Violoncello and Piano-The Slavonic Dances originally composed for Piano four-hands number among Dvorak’s most popular works. Dvorak wrote his Cello and Piano arrangement of the Slavonic Dance Op. 46/8 for a Cello-playing friend of his. The arrangement of Op. 46/3 remained a fragment and was completed here on the basis of its fellow piece.They are rewarding new additions to the Cello literature of the 19th century!

Three Slavonic Dances for Woodwind Ensemble-Slavonica! est une commande du Bloomsbury Music Group pour le Bloomsbury Woodwind Ensemble. Le compositeur désirait créer un ensemble de trois danses slaves modernes fortement inspirées de Dvo ák : une danse d?ouverture une « sousedská » et une « sko ná » entraînante qui accélère jusqu?à la coda tumultueuse. Ces danses se prêtent à une interprétation en groupe avec un soliste par partie ou par tout le registre des vents de l?orchestre d?harmonie.

Dvorak wrote the Slavonic Dance No. 6 in 1878. Here arranged by Stone is the score for the dance.

Slavonic Dance No 10, op. 72/2 Partitur und Stimmen - Score = Piano - 3 recorders (SAT) and piano First recorders so perfectly it might have been written for them. A highly successful concert item.

Fiery flourishes and explosive rhythms combine to make this major new publication by Elliot del Borgo an exotic masterpiece. Five authentic Slavonic folk tunes -'Yelenta ' 'Csardas ' 'The Ferryman of Okhrida ' 'Love's My Permit' and 'The Husser' - provide the material for this colorful and energetic symphonic statement.Contrasts abound! Infectious moods both cheerful and sad and contagious rhythms combine to great effect. Interesting shifting meters and wide ranges give this challenging piece momentum and impact. Your band can vividly display the vigor and passion of Slavonic peasant life with your performance of Elliot del Borgo’s Slavonic Dances! Energetic!

(The Slavonic Dances)-Taken in its entirety it would be hard to overstate the enormity of Dvorák's output of excellent music and yet most young musicians are familiar with only one theme from one of his symphonies if even that. It was hisfirst set of Slavonic Dances (Op. 46) that first brought him wide recognition as a composer. In this new CMP offering two of Dvorák's delightful Czech folk-style melodies are skillfully adapted for the concert bandby James Curnow. Explore the kind of music that put Dvorák on the world stage helping to establish him as one of the key composers in the history of music.

Dvorák's Slavonic Dances utilise a strong and dramtic sense of rhythm throughout and he wrote original melodies rather than arranging known folk tunes. These dances have been a favourite with pianists and orchestras for generations. Spirited lively and full of musical interest the addition of these four dances to the brass quintet canon is a welcome supplement to that repertoire both as a complete set and as individual show fillers. Arranged here for Brass Quintet by Philip White.

Dvorak wrote the Slavonic Dances Nos. 4 And 6 in 1878. Here arranged by Stone are the string parts for the dances.

Dvorák's Slavonic Dances, Op. 46 is the first of two sets of dances inspired by the composer's Bohemian folk-music roots. There are eight duets in this volume, each one displaying rhythmic energy and lyricism. Based on the original edition, this volume includes performance notes, editorial fingering, and suggested metronome marks.