Antonín Dvorák
Romantic Pieces op. 75 for Piano and Violin
Antonín Dvorák’s chamber music output comprises over forty works. That he became known so quickly beyond the borders of Bohemia was due not least to the many discerning music aficionados who enjoyed playing his works. In the 19th century, domestic music-making was everywhere, and Dvorák’s Romantic Pieces for violin and piano op. 75 were also intended for music-making in private circles. Dvorák’s autograph has served as the basis of our Urtext edition of op. 75. Its preface provides many details concerning the genesis of the work, which was originally conceived as a string trio. We were able to engage Dvorák specialist Milan Pospísil as editor of this edition.
About the Composer
Antonín Dvorák
With Smetana he is the most famous Czech composer of the nineteenth century, contributing to the dissemination and appreciation of Czech music throughout the world. Among his around 200 works, encompassing all standard genres, are nine symphonies, fourteen string quartets, and twelve operas.
About the Authors
Milan Pospísil (Editor)
Dr. Milan Pospíšil, born in 1945, studied music theory and music history at the Charles University in Prague as well as at the Ruhr-Universität in Bochum (1963–1969); in 1971 he did his doctorate there with a thesis on “Giacomo Meyerbeer: Les Huguenots. Příspěvek k analýze stylu”, and at the Czechoslovak Academy of Sciences in 1988 on “Antonín Dvořák: Dimitrij, op. 64. Kritická edice”.
He worked as a specialist and scholar at the Czechoslovak Academy of Sciences (now Academy of Science of the Czech Republic) in Prague for almost 30 years. In 1981 he co-founded the Smetana Festival and the interdisciplinary symposium on the issues of the 19th century in Pilsen, which still takes place today. Since 2000 he has been the curator and a research associate at the National Museum in Prague.
Klaus Schilde (Fingering)
Schilde won numerous prizes. From 1947 onwards he gave concerts as a soloist and chamber musician on almost every single continent with renowned orchestras. He taught at the music conservatories in East Berlin Detmold, West Berlin, Munich, Tokyo (Geidai) and Weimar. From 1988–1991 he was President of the Staatliche Hochschule für Musik und Theater in Munich, where he
Kurt Guntner (Fingering and bowing for Violin)
Of particular appeal were the BR’s invitations to perform and record gr
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Further editions of this title
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