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classic
Peter Mikulás
ARTIST MUSICS
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Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Recitative: Ó, kterak mohu zvednout k tobě zraku (Oh, how can I raise my eyes to you)
Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Recitative: Ó, kterak mohu zvednout k tobě zraku (Oh, how can I raise my eyes to you)
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Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Ó běda, nechce slyšet jeho lkaní! (Oh, woe, she does not want to hear his lamenting!)
Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Ó běda, nechce slyšet jeho lkaní! (Oh, woe, she does not want to hear his lamenting!)
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Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Recitative: Jak z krásného snu náhle procitlý (How suddenly awake from a beautiful dream)
Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Recitative: Jak z krásného snu náhle procitlý (How suddenly awake from a beautiful dream)
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Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Quartet: Já hledala jsem záři toho jitra (I looked for the glow of that morn)
Saint Ludmilla, B. 144, Op. 71  Part II: V lesích berounských: Quartet: Já hledala jsem záři toho jitra (I looked for the glow of that morn)
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Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Introduction - Hospodine, pomiluj ny! (Lord, have mercy on us!)
Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Introduction - Hospodine, pomiluj ny! (Lord, have mercy on us!)
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Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Duet: Ó, nech juž skanout nad našimi čely (Oh, allow now to drop on our foreheads)
Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Duet: Ó, nech juž skanout nad našimi čely (Oh, allow now to drop on our foreheads)
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Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Duchu svatý, sestup v nachu (Holy spirit, descend in purple)
Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Duchu svatý, sestup v nachu (Holy spirit, descend in purple)
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Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Ó. zněte, pisně. zněte k nebes báni (Oh, resound. song, resound to the dome of heaven)
Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Ó. zněte, pisně. zněte k nebes báni (Oh, resound. song, resound to the dome of heaven)
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Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Hospodine. pomiluj ny! (Lord, have mercy on us!)
Saint Ludmilla, B. 144, Op. 71  Part III: V chrámu velehradském: Hospodine. pomiluj ny! (Lord, have mercy on us!)
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Hail the Coming Day: A Festive Piece  Hail the Coming Day (A Festive Piece for Orchestra)
Hail the Coming Day: A Festive Piece  Hail the Coming Day (A Festive Piece for Orchestra)
 
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Organ Concert  II. Canto (to God and dog)
Organ Concerto  II. Canto (to God and dog)
 
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Phoenix  Phoenix for orchestra
Phoenix  Phoenix for orchestra
 
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Te Deum, Op.32  Aeterna fac cum sanctis tuis in gloria numerari
Te Deum, Op. 32  Aeterna fac cum sanctis tuis in gloria numerari
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Te Deum, Op.32  Dignare, Domine, die isto sine peccato nos custodire
Te Deum, Op. 32  Dignare, Domine, die isto sine peccato nos custodire
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Te Deum, H. 118, Op. 22  Christe, rex gloriae. Allegro non troppo
Te Deum, H. 118, Op. 22  Christe, rex gloriae. Allegro non troppo
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Te Deum, H. 118, Op. 22  Te ergo quaesumus. Andantino quasi adagio
Te Deum, H. 118, Op. 22  Te ergo quaesumus. Andantino quasi adagio
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Te Deum, H. 118, Op. 22  Judex crederis. Allegretto un poco maestoso
Te Deum, H. 118, Op. 22  Judex crederis. Allegretto un poco maestoso
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Te Deum in D major, HWV 283  Solo & Chorus: Larghetto e piano. Dir singt der Engel lauter Chor
Te Deum in D major, HWV 283  Solo & Chorus: Larghetto e piano. Dir singt der Engel lauter Chor
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Te Deum in D major, HWV 283  Solo & Chorus: Andante, non presto - a tempo ordinario. Der hochgelobte Chor der Aposte!
Te Deum in D major, HWV 283  Solo & Chorus: Andante, non presto - a tempo ordinario. Der hochgelobte Chor der Aposte!
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Te Deum in D major, HWV 283  Solo & Chorus: Moderato. Du bist der Ehrenkönig
Te Deum in D major, HWV 283  Solo & Chorus: Moderato. Du bist der Ehrenkönig
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Te Deum in D major, HWV 283  Air: Larghetto e piano un poco. Als du auf dich genommen
Te Deum in D major, HWV 283  Air: Larghetto e piano un poco. Als du auf dich genommen
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Te Deum in D major, HWV 283  Chorus: Grave. Als du siegreich zerbrachst den Stachel des Todes
Te Deum in D major, HWV 283  Chorus: Grave. Als du siegreich zerbrachst den Stachel des Todes
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Te Deum in D major, HWV 283  Chorus: Largo. Nimm uns auf in deiner heil'gen Zahl
Te Deum in D major, HWV 283  Chorus: Largo. Nimm uns auf in deiner heil'gen Zahl
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Te Deum in D major, HWV 283  Chorus & Solo: Allegro, non presto. Tag für Tag erschallt dein Preislied
Te Deum in D major, HWV 283  Chorus & Solo: Allegro, non presto. Tag für Tag erschallt dein Preislied
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Te Deum in D major, HWV 283  Accompagnato: Largo e piano. Verleih uns, Herr, zu schirmen uns heut von aller Sünd
Te Deum in D major, HWV 283  Accompagnato: Largo e piano. Verleih uns, Herr, zu schirmen uns heut von aller Sünd
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Te Deum in D major, HWV 283  Solo & Chorus: Andante. O Herr, auf dich steht mein Hoffen
Te Deum in D major, HWV 283  Solo & Chorus: Andante. O Herr, auf dich steht mein Hoffen
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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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