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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
 
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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.
 
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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
 
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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]
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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
 
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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....
 
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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....
 
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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.
 
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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]
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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
 
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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
 
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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
 
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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.
 
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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.
 
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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]
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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.
 
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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]
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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
 
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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
 
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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]
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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
 
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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...
 
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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]
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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
 
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The Marriage of Figaro  Act I: Aria: Non so piu cosa son faccio
Le nozze di Figaro  Act I: Aria: Non so piu cosa son faccio
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Winter Journey, D. 911, Op. 89  No. 18. Der sturmische Morgen
Winterreise, D. 911, Op. 89  No. 18. Der sturmische Morgen
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Tristan and Isolde  Act I: Westwärts schweift der Blick
Tristan und Isolde  Act I: Westwärts schweift der Blick
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Tristan and Isolde  Act I: Frisch weht der Wind
Tristan und Isolde  Act I: Frisch weht der Wind
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Tristan and Isolde  Act I: Weh, ach wehe!
Tristan und Isolde  Act I: Weh, ach wehe!
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Tristan and Isolde  Act I: Auf! Auf! Ihr Frauen!
Tristan und Isolde  Act I: Auf! Auf! Ihr Frauen!
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Tristan and Isolde  Act I: Begehrt, Herrin
Tristan und Isolde  Act I: Begehrt, Herrin
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Tristan and Isolde  Act II: Hörst du sie noch?
Tristan und Isolde  Act II: Hörst du sie noch?
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Tristan and Isolde  Act II: Isolde! Geliebte!
Tristan und Isolde  Act II: Isolde! Geliebte!
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Tristan and Isolde  Act II: O sink hernieder, Nacht der Liebe
Tristan und Isolde  Act II: O sink hernieder, Nacht der Liebe
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Tristan and Isolde  Act II: Rette dich, Tristan
Tristan und Isolde  Act II: Rette dich, Tristan
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Tristan and Isolde  Act II: Tatest du's wirklich?
Tristan und Isolde  Act II: Tatest du's wirklich?
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Tristan and Isolde  Act III: Kurwenal! He!
Tristan und Isolde  Act III: Kurwenal! He!
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Tristan and Isolde  Act III: Die alte Weise sagt mir's wieder
Tristan und Isolde  Act III: Die alte Weise sagt mir's wieder
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Tristan and Isolde  Act III: O diese Sonne!
Tristan und Isolde  Act III: O diese Sonne!
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Tristan and Isolde  Act III: Ha! Ich bin's süssester Freund
Tristan und Isolde  Act III: Ha! Ich bin's süssester Freund
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Tristan and Isolde  Act III: Kurwenal! Hör! Ein zweites Schiff
Tristan und Isolde  Act III: Kurwenal! Hör! Ein zweites Schiff
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Tristan and Isolde  Act III: Mild und leise
Tristan und Isolde  Act III: Mild und leise
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The Meistersinger of Nuremberg  Act I: Da zu dir der Heiland kam
Die Meistersinger von Nürnberg  Act I: Da zu dir der Heiland kam
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The Meistersinger of Nuremberg  Act I: Verweilt! Ein Wort
Die Meistersinger von Nürnberg  Act I: Verweilt! Ein Wort
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The Meistersinger of Nuremberg  Act I: David! Was stehst?
Die Meistersinger von Nürnberg  Act I: David! Was stehst?
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The Meistersinger of Nuremberg  Act I: Mein Herr! Der Singer
Die Meistersinger von Nürnberg  Act I: Mein Herr! Der Singer
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The Meistersinger of Nuremberg  Act I: Der Meister Tön' und Weisen
Die Meistersinger von Nürnberg  Act I: Der Meister Tön' und Weisen
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The Meistersinger of Nuremberg  Act I: Seid meiner Treue wohl versehen
Die Meistersinger von Nürnberg  Act I: Seid meiner Treue wohl versehen
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The Meistersinger of Nuremberg  Act I: Nicht doch, ihr Meister
Die Meistersinger von Nürnberg  Act I: Nicht doch, ihr Meister
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The Meistersinger of Nuremberg  Act I: Verzeiht, vielleicht schon ginget ihr zu weit
Die Meistersinger von Nürnberg  Act I: Verzeiht, vielleicht schon ginget ihr zu weit
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The Meistersinger of Nuremberg  Act I: Dacht ich mir's doch!
Die Meistersinger von Nürnberg  Act I: Dacht ich mir's doch!
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The Meistersinger of Nuremberg  Act I: Nun, Meister! Wenn's gefällt
Die Meistersinger von Nürnberg  Act I: Nun, Meister! Wenn's gefällt
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The Meistersinger of Nuremberg  Act I: Was euch zum Liede Richt und Schnur
Die Meistersinger von Nürnberg  Act I: Was euch zum Liede Richt und Schnur
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The Meistersinger of Nuremberg  Act I: Für dich, Geliebte, sei's getan - Fanget an!
Die Meistersinger von Nürnberg  Act I: Für dich, Geliebte, sei's getan - Fanget an!
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The Meistersinger of Nuremberg  Act I: Halt, Meister! Nicht so geeilt!
Die Meistersinger von Nürnberg  Act I: Halt, Meister! Nicht so geeilt!
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The Meistersinger of Nuremberg  Act II: Johannistag! Johannistag!
Die Meistersinger von Nürnberg  Act II: Johannistag! Johannistag!
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The Meistersinger of Nuremberg  Act II: Laß sehn, ob Meister Sachs zu Haus?
Die Meistersinger von Nürnberg  Act II: Laß sehn, ob Meister Sachs zu Haus?
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