Category Archives: Dvořák, Antonín

Excess and empty space: Text variants in Dvořák’s Cello Concerto op. 104

Antonín Dvořák’s Cello Concerto op. 104 may be a special … Continue reading

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Dvořák’s “Gran Partita”? On the presumed model of his Wind Serenade in d minor op. 44

In my last blog post I already reported on our … Continue reading

Posted in Brahms, Johannes, Dvořák, Antonín, genesis, Monday Postings, Mozart, Wolfgang Amadeus, Wind Serenade op. 44 (Dvořák), winds | Tagged , , | 1 Comment

“…probably the best of Dvořák that I’m acquainted with.” What’s worth knowing about the Wind Serenade in d minor op. 44

Even though recently the focus of attention owing to their … Continue reading

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‘Finished in Vysoká at a nice little hour’– new finds in Dvořák’s A-major piano quintet op. 81

The piano quintet is, so to speak, in the “super … Continue reading

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“A Little Spring Melody”– finally in Urtext!

Many a reader will be thinking, I must be mistaken … Continue reading

Posted in arrangement, Dvořák, Antonín, G. Henle Publishers, Humoresques op. 101 (Dvořák), Monday Postings, piano solo, Urtext | Leave a comment

A Bohemian in America: Is Dvořák’s String Quartet in F Major wrongly accented?

Antonín Dvořák, director of the National Conservatory of Music in … Continue reading

Posted in accent, articulation, autograph, Dvořák, Antonín, first edition, G. Henle Publishers, Monday Postings, notation, Pražák Quartett, string quartet, String Quartet F major op. 96 (American Quartet) (Dvořák) | Tagged , , , , | 2 Comments