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classic
Dalibor Jenis
ARTIST MUSICS
1
Edgar  Prélude (Andante con moto)
Edgar  Prélude (Andante con moto)
3:3
2
Edgar  Act 1. Aria. O fior del giorno
Edgar  Act 1. Aria. O fior del giorno
9:44
3
Edgar  Act 1. Aria. Ove Fosti sta notte
Edgar  Act 1. Aria. Ove Fosti sta notte
2:26
4
Edgar  Act 1. Aria. Questo amor, vergognia mia
Edgar  Act 1. Aria. Questo amor, vergognia mia
3:31
5
Edgar  Act 1. Aria. Dio non benedice
Edgar  Act 1. Aria. Dio non benedice
7:22
6
Edgar  Act 1. Aria. Fuori di qui!
Edgar  Act 1. Aria. Fuori di qui!
5:7
7
Edgar  Act 1. Recitativo. Or dunque, addio!
Edgar  Act 1. Recitativo. Or dunque, addio!
2:37
8
Edgar  Act 2. Aria. Splendida notte, notte gioconda
Edgar  Act 2. Aria. Splendida notte, notte gioconda
3:28
9
Edgar  Act 2. Aria. Orgia / Chimera dall'occhio
Edgar  Act 2. Aria. Orgia / Chimera dall'occhio
9:12
10
Edgar  Act 2. Aria. Uno squillo marzial!
Edgar  Act 2. Aria. Uno squillo marzial!
5:48
11
Edgar  Prélude (Lento triste)
Edgar  Prélude (Lento triste)
3:45
12
Edgar  Act 3. Aria. Requem aeternam
Edgar  Act 3. Aria. Requem aeternam
7:27
13
Edgar  Act 3. Aria. Addio, addio, mio dolce amor
Edgar  Act 3. Aria. Addio, addio, mio dolce amor
3:42
14
Edgar  Act 3. Aria. Del prode Edgar
Edgar  Act 3. Aria. Del prode Edgar
5:15
15
Edgar  Act 3. Aria. D'ogni dolor
Edgar  Act 3. Aria. D'ogni dolor
6:53
16
Edgar  Act 3. Aria. Voglio passar!
Edgar  Act 3. Aria. Voglio passar!
2:21
17
Edgar  Act 3. Aria. Bella signora
Edgar  Act 3. Aria. Bella signora
5:11
18
Edgar  Act 3. Recitativo. Squillin le trombe
Edgar  Act 3. Recitativo. Squillin le trombe
2:17
19
Edgar  Act 3. Recitativo. Maledizion!
Edgar  Act 3. Recitativo. Maledizion!
4:35
22
Gianni Schicchi  "Ai miei cugioni Zita e Simone"
Gianni Schicchi  "Ai miei cugioni Zita e Simone"
2:53
24
Gianni Schicchi  E non c'è nessun mezzo...
Gianni Schicchi  E non c'è nessun mezzo...
2:29
25
Gianni Schicchi  Firenze è come un albero fiorito
Gianni Schicchi  Firenze è come un albero fiorito
2:26
26
Gianni Schicchi  "Quale aspetto sgomento e desolato!"
Gianni Schicchi  "Quale aspetto sgomento e desolato!"
3:32
27
Gianni Schicchi  "O mio babbino caro"
Gianni Schicchi  "O mio babbino caro"
2:6
28
Gianni Schicchi  "Datemi il testamento!"
Gianni Schicchi  "Datemi il testamento!"
1:51
29
Gianni Schicchi  Nessuno sa che Buoso ha reso il fiato?
Gianni Schicchi  Nessuno sa che Buoso ha reso il fiato?
3:16
30
Gianni Schicchi  "Era uguale la voce?"
Gianni Schicchi  "Era uguale la voce?"
5:47
31
Gianni Schicchi  Ecco la cappellina!
Gianni Schicchi  Ecco la cappellina!
3:23
32
Gianni Schicchi  "Prima un avvertimento!"
Gianni Schicchi  "Prima un avvertimento!"
2:36
34
Gianni Schicchi  "Ladro, ladro, furfante!"
Gianni Schicchi  "Ladro, ladro, furfante!"
1:29
35
Gianni Schicchi  Lauretta mia, staremo sempre qui
Gianni Schicchi  Lauretta mia, staremo sempre qui
2:11
38
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Bits and pieces are all we may know about the music of Antonín Dvořák  Bits and pieces are all we may know about the music of Antonín Dvořák
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Bits and pieces are all we may know about the music of Antonín Dvořák
 
4:3
40
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples The fourth of Dvořák's Ten Biblical Songs, titled 'The Lord is my shepherd' and set to a well-known Psalm text from the traditional Czech translation of the Kralice Bible.  The fourth of Dvořák's Ten Biblical Songs, titled 'The Lord is my shepherd' and set to a well-known Psalm text from the traditional Czech translation of the Kralice Bible.
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  The fourth of Dvořák's Ten Biblical Songs, titled 'The Lord is my shepherd' and set to a well-known Psalm text from the traditional Czech translation of the Kralice Bible.
 
2:57
42
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Antonín Leopold Dvořák was born on 8 september 1841 in the village of Nelahozeves, near Kralupy, in Bohemia approximately 28km north of Prague  Antonín Leopold Dvořák was born on 8 september 1841 in the village of Nelahozeves, near Kralupy, in Bohemia approximately 28km north of Prague
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Antonín Leopold Dvořák was born on 8 september 1841 in the village of Nelahozeves, near Kralupy, in Bohemia approximately 28km north of Prague
 
2:48
43
Symphony No. 6 in G major "Historical", Op. 116  IV. Allerneueste Periode (The Very Latest Period) (1840): Allegro vivace [excerpt]
Symphony No. 6 in G major "Historical", Op. 116  IV. Allerneueste Periode (The Very Latest Period) (1840): Allegro vivace [excerpt]
37
44
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Reflecting on this period of the composer's life, Zubatý (the Czech writer mentioned previously) wrote: Seemingly for Dvořák the Organ School was more a means of qualifying for the formal title of musician than the  Reflecting on this period of the composer's life, Zubatý (the Czech writer mentioned previously) wrote: Seemingly for Dvořák the Organ School was more a means of qualifying for the formal title of musician than the
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Reflecting on this period of the composer's life, Zubatý (the Czech writer mentioned previously) wrote: Seemingly for Dvořák the Organ School was more a means of qualifying for the formal title of musician than the
 
2:30
46
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Dvořák's first symphony, composed between February and March 1865, began life as a submission to a German composition competition....  Dvořák's first symphony, composed between February and March 1865, began life as a submission to a German composition competition....
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Dvořák's first symphony, composed between February and March 1865, began life as a submission to a German composition competition....
 
1:34
48
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples In early 1865, Dvořák started teaching piano to the daughters of a Prague goldsmith: one of the two, Anna Čermáková would later become his wife....  In early 1865, Dvořák started teaching piano to the daughters of a Prague goldsmith: one of the two, Anna Čermáková would later become his wife....
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  In early 1865, Dvořák started teaching piano to the daughters of a Prague goldsmith: one of the two, Anna Čermáková would later become his wife....
 
1:24
50
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Before he left the Provisional Theatre orchestra in the summer of 1871, Dvořák was the subject of an announcement in a leading local music journal.  Before he left the Provisional Theatre orchestra in the summer of 1871, Dvořák was the subject of an announcement in a leading local music journal.
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Before he left the Provisional Theatre orchestra in the summer of 1871, Dvořák was the subject of an announcement in a leading local music journal.
 
3:56
51
King and Charcoal Burner  Act I: Scene 9: Jaký zvuk to jest? (What sound is that?) [excerpt]
King and Charcoal Burner  Act I: Scene 9: Jaký zvuk to jest? (What sound is that?) [excerpt]
41
52
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples It seems that Dvořák's revision of the opera between 1873 and 1874 was but part of a larger stylistic renovation being undertaken by the composer at the time  It seems that Dvořák's revision of the opera between 1873 and 1874 was but part of a larger stylistic renovation being undertaken by the composer at the time
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  It seems that Dvořák's revision of the opera between 1873 and 1874 was but part of a larger stylistic renovation being undertaken by the composer at the time
 
2:5
54
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples In response to Dvořák's multi-composition submission for the 1877 stipendium, Brahms singled out the Moravian Duets for special praise  In response to Dvořák's multi-composition submission for the 1877 stipendium, Brahms singled out the Moravian Duets for special praise
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  In response to Dvořák's multi-composition submission for the 1877 stipendium, Brahms singled out the Moravian Duets for special praise
 
2:16
56
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples While this style of music might be regarded, somewhat cynically, as a kind of opportunistic 'tourist nationalism' (to quote a recent historian) listeners in Dvořák's time thought the very opposite, describing the da  While this style of music might be regarded, somewhat cynically, as a kind of opportunistic 'tourist nationalism' (to quote a recent historian) listeners in Dvořák's time thought the very opposite, describing the da
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  While this style of music might be regarded, somewhat cynically, as a kind of opportunistic 'tourist nationalism' (to quote a recent historian) listeners in Dvořák's time thought the very opposite, describing the da
 
2:47
58
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples In August 1883, Dvořák received a prestigious invitation: the London Philharmonic Society requested his presence as conductor (of his own orchestral works) in their forthcoming concert season.  In August 1883, Dvořák received a prestigious invitation: the London Philharmonic Society requested his presence as conductor (of his own orchestral works) in their forthcoming concert season.
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  In August 1883, Dvořák received a prestigious invitation: the London Philharmonic Society requested his presence as conductor (of his own orchestral works) in their forthcoming concert season.
 
1:21
60
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Dvořák left Prague for London on 5 March 1884: eight days later he was conducting the Stabat Mater in the Royal Albert Hall.  Dvořák left Prague for London on 5 March 1884: eight days later he was conducting the Stabat Mater in the Royal Albert Hall.
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Dvořák left Prague for London on 5 March 1884: eight days later he was conducting the Stabat Mater in the Royal Albert Hall.
 
3:12
61
Piano Trio No. 4 in E minor "Dumky", B. 166, Op. 90  I. Lento maestoso - Allegro vivace, quasi doppio movimento - Tempo I [excerpt]
Piano Trio No. 4 in E minor "Dumky", B. 166, Op. 90  I. Lento maestoso - Allegro vivace, quasi doppio movimento - Tempo I [excerpt]
2:0
62
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples In 1891, the same year Dvořák completed the 'Dumky' Trio, he took up the position of professor of composition and instrumentation at the Prague Conservatory.  In 1891, the same year Dvořák completed the 'Dumky' Trio, he took up the position of professor of composition and instrumentation at the Prague Conservatory.
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  In 1891, the same year Dvořák completed the 'Dumky' Trio, he took up the position of professor of composition and instrumentation at the Prague Conservatory.
 
3:19
63
Te Deum, B. 176, Op. 103  Te Deum laudamus: Allegro moderato, maestoso [excerpt]
Te Deum, B. 176, Op. 103  Te Deum laudamus: Allegro moderato, maestoso [excerpt]
1:31
64
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples The premiere of the Te Deum within the celebratory concert, which took place on 21 October 1892 at New York's Carnegie Hall, was preceded by a concert address by the American musical patron Thomas Wentworth Higginso  The premiere of the Te Deum within the celebratory concert, which took place on 21 October 1892 at New York's Carnegie Hall, was preceded by a concert address by the American musical patron Thomas Wentworth Higginso
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  The premiere of the Te Deum within the celebratory concert, which took place on 21 October 1892 at New York's Carnegie Hall, was preceded by a concert address by the American musical patron Thomas Wentworth Higginso
 
3:11
66
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Following the premiere of his Ninth Symphony, Dvořák may well have looked forward to a prosperous and productive period in New York  Following the premiere of his Ninth Symphony, Dvořák may well have looked forward to a prosperous and productive period in New York
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Following the premiere of his Ninth Symphony, Dvořák may well have looked forward to a prosperous and productive period in New York
 
3:36
67
Cello Concerto in B minor, B. 191, Op. 104  III. Finale: Andante - Allegro vivo [excerpt]
Cello Concerto in B minor, B. 191, Op. 104  III. Finale: Andante - Allegro vivo [excerpt]
1:13
68
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples The next - and, indeed, the penultimate - phase in Dvořák's compositional journey seems to have emerged from his previous interest in music's extra-musical associations: the poetic or pictorial aspect explored in pr  The next - and, indeed, the penultimate - phase in Dvořák's compositional journey seems to have emerged from his previous interest in music's extra-musical associations: the poetic or pictorial aspect explored in pr
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  The next - and, indeed, the penultimate - phase in Dvořák's compositional journey seems to have emerged from his previous interest in music's extra-musical associations: the poetic or pictorial aspect explored in pr
 
2:58
70
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples During his final years, Dvořák became the recipient of various honours...  During his final years, Dvořák became the recipient of various honours...
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  During his final years, Dvořák became the recipient of various honours...
 
3:50
71
Armida, opus, B. 206, Op.115  Act I: Scene 1: Jak z dervišových prstů řinou (As delightful rosary beads glide in the hands of the dervishes) [excerpt]
Armida, opera, B. 206, Op.115  Act I: Scene 1: Jak z dervišových prstů řinou (As delightful rosary beads glide in the hands of the dervishes) [excerpt]
1:40
72
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples Dvořák is said to have departed the theatre early on the evening of 25 March 1904, during the premiere of Armida at the National Theatre in Prague, where the opera was being directed by Robert Polak and conducted by  Dvořák is said to have departed the theatre early on the evening of 25 March 1904, during the premiere of Armida at the National Theatre in Prague, where the opera was being directed by Robert Polak and conducted by
Great Composers in Words and Music: Antonín Dvořák, narration with musical examples  Dvořák is said to have departed the theatre early on the evening of 25 March 1904, during the premiere of Armida at the National Theatre in Prague, where the opera was being directed by Robert Polak and conducted by
 
2:33
75
The barber of Siviglia  I, Scene I: 'Largo al factotum' (Figaro/ Cavatina
Il barbiere di Siviglia  I, Scene I: 'Largo al factotum' (Figaro/ Cavatina
5:
76
The barber of Siviglia  Act I, Scene II: 'All' idea di quell metallo' (Figaro, Conte, Duetto
Il barbiere di Siviglia  Act I, Scene II: 'All' idea di quell metallo' (Figaro, Conte, Duetto
8:30
77
The barber of Siviglia  Act I, Scene III: 'Una voce poco fa' (Rosina, Cavatina
Il barbiere di Siviglia  Act I, Scene III: 'Una voce poco fa' (Rosina, Cavatina
5:46
78
The barber of Siviglia  Act I, Scene IV: 'La calunnia' (Don Basilio, Aria
Il barbiere di Siviglia  Act I, Scene IV: 'La calunnia' (Don Basilio, Aria
5:7
79
The barber of Siviglia  Act I, Scene V: 'Dunque io son' (Rosina, Figaro, Duetto
Il barbiere di Siviglia  Act I, Scene V: 'Dunque io son' (Rosina, Figaro, Duetto
5:12
80
The barber of Siviglia  Act I, Scene VI: 'A un dottor della mia sorte' (Bartolo, Aria
Il barbiere di Siviglia  Act I, Scene VI: 'A un dottor della mia sorte' (Bartolo, Aria
6:8
81
The barber of Siviglia  Act I, Scene VII: 'Ecco ridente in cielo' (Conte, Fiorello, Coro/ Cavatina
Il barbiere di Siviglia  Act I, Scene VII: 'Ecco ridente in cielo' (Conte, Fiorello, Coro/ Cavatina
7:59
82
The barber of Siviglia  Act I, Scene VIII: 'Contro un cor che accende amore' (Rosina, Conte/ Aria
Il barbiere di Siviglia  Act I, Scene VIII: 'Contro un cor che accende amore' (Rosina, Conte/ Aria
5:14
83
The barber of Siviglia  Act I, Scene IX: 'Don basilia, coa veggo!' (Rosina, Conte, Figaro, Bartolo, Basilio, Quintetto
Il barbiere di Siviglia  Act I, Scene IX: 'Don basilia, coa veggo!' (Rosina, Conte, Figaro, Bartolo, Basilio, Quintetto
4:32
85
The barber of Siviglia  Act I, Scene X: 'Il vecchietto cerca moglie' (Berta/ Aria
Il barbiere di Siviglia  Act I, Scene X: 'Il vecchietto cerca moglie' (Berta/ Aria
3:44
86
The barber of Siviglia  Act I, Scene XI: 'Ah qual colpo insaspettato!' (Rosina, Figaro, Conte/ Terzetto
Il barbiere di Siviglia  Act I, Scene XI: 'Ah qual colpo insaspettato!' (Rosina, Figaro, Conte/ Terzetto
6:43
87
The barber of Siviglia  Act I, Scene XII: 'Di si Felice innesto' (Figaro, Bartolo, Basilio, Coro, Berta, Rosina, Conte, Finaletto II
Il barbiere di Siviglia  Act I, Scene XII: 'Di si Felice innesto' (Figaro, Bartolo, Basilio, Coro, Berta, Rosina, Conte, Finaletto II
2:26
88
St John Passion, BWV 245  1: 1. Chorus 'Herr, unser Herrscher'
St. John Passion, BWV 245  1: 1. Chorus 'Herr, unser Herrscher'
10:15
89
St John Passion, BWV 245  1: 2a. Evangelist, Jesus - 'Jesus ging mit seinen Juengern
St. John Passion, BWV 245  1: 2a. Evangelist, Jesus - 'Jesus ging mit seinen Juengern
1:7
90
St John Passion, BWV 245  1: 2b. Chorus - 'Jesum von Nazareth'
St. John Passion, BWV 245  1: 2b. Chorus - 'Jesum von Nazareth'
10
91
St John Passion, BWV 245  1: 2c. Evangelist, Jesus - 'Jesus spricht zu ihnen'
St. John Passion, BWV 245  1: 2c. Evangelist, Jesus - 'Jesus spricht zu ihnen'
32
92
St John Passion, BWV 245  1: 2d. Chorus - 'Jesum von Nazareth'
St. John Passion, BWV 245  1: 2d. Chorus - 'Jesum von Nazareth'
10
93
St John Passion, BWV 245  1: 2e. Evangelist, Jesus - 'Jesus antwortete'
St. John Passion, BWV 245  1: 2e. Evangelist, Jesus - 'Jesus antwortete'
25
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St John Passion, BWV 245  1: 3. Chorale 'O große Lieb, o Lieb ohn alle Maße'
St. John Passion, BWV 245  1: 3. Chorale 'O große Lieb, o Lieb ohn alle Maße'
59
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St John Passion, BWV 245  1: 4. Evangelist, Jesus - 'Auf daß das Wort erfüllet würde'
St. John Passion, BWV 245  1: 4. Evangelist, Jesus - 'Auf daß das Wort erfüllet würde'
1:3
96
St John Passion, BWV 245  1: 5. Chorale - 'Dein Will gescheh, Herr Gott, zugleich'
St. John Passion, BWV 245  1: 5. Chorale - 'Dein Will gescheh, Herr Gott, zugleich'
1:5
97
St John Passion, BWV 245  1: 6. Evangelist - 'Die Schar aber und der Oberhauptmann'
St. John Passion, BWV 245  1: 6. Evangelist - 'Die Schar aber und der Oberhauptmann'
45
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St John Passion, BWV 245  1: 7. Aria (alto) - 'Von den Stricken meiner Sünden'
St. John Passion, BWV 245  1: 7. Aria (alto) - 'Von den Stricken meiner Sünden'
5:4
99
St John Passion, BWV 245  1: 8. Evangelist - 'Simon Petrus aber folgete Jesu nach'
St. John Passion, BWV 245  1: 8. Evangelist - 'Simon Petrus aber folgete Jesu nach'
15
100
St John Passion, BWV 245  1: 9. Aria (soprano) - 'Ich folge dir gleichfalls mit freudigen Schritten'
St. John Passion, BWV 245  1: 9. Aria (soprano) - 'Ich folge dir gleichfalls mit freudigen Schritten'
3:39
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