Log in

Relevant bibliographies by topics / Antonín Dvořák / Journal articles

To see the other types of publications on this topic, follow the link: Antonín Dvořák.

Journal articles on the topic 'Antonín Dvořák'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 39 journal articles for your research on the topic 'Antonín Dvořák.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Pines, Roger. "Rusalka. Antonín Dvořák." Opera Quarterly 7, no. 3 (1990): 148–50. http://dx.doi.org/10.1093/oq/7.3.148.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Gabrijelova, Jarmila. "Antonín Dvořák and Richard Wagner." Muzikologija, no. 6 (2006): 305–16. http://dx.doi.org/10.2298/muz0606305g.

Full text

Abstract:

The essay deals with the relation of prominent Czech composer Anton?n Dvo??k (1841?1904) to the personality and work of Richard Wagner (1813?1883). As opposed to the common opinions linking Dvo??k?s name with Wagner?s ideological opponents and placing his ?Wagnerian? period in the early phase of his career only, our examination shows that Dvo??k?s interest in Wagner and his music was of deep and lasting nature and was significant for him throughout the whole of his life.

APA, Harvard, Vancouver, ISO, and other styles

3

Brambilla, Edemilson Antônio. "Intermidialidade músico-literária em Luiz Antonio de Assis Brasil: aproximações entre O inverno e depois e o Concerto para violoncelo e orquestra." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 36 (2021): 270–86. http://dx.doi.org/10.12957/palimpsesto.2021.60137.

Full text

Abstract:

Este estudo possui como objetivo compreender a presença da intermidialidade no romance O inverno e depois, de Luiz Antonio de Assis Brasil. O autor parte de relações entre o universo literário e o musical para construir sua narrativa ficcional, onde o Concerto para violoncelo e orquestra, do compositor checo Antonín Dvořák, torna-se a base influenciadora da estrutura romanesca construída por Assis Brasil. Nesse sentido, buscamos evidenciar como os aspectos musicais que compõem essa primeira mídia (o concerto), são utilizados para a construção da segunda mídia (o romance assisiano), uma vez que

APA, Harvard, Vancouver, ISO, and other styles

4

Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

Full text

Abstract:

If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these

APA, Harvard, Vancouver, ISO, and other styles

5

Vejvodová, Veronika. "Antonín Dvořák in the Notes of the Traveller Josef Kořenský and Czech Society in America in 1893." Musicalia 11, no. 1-2 (2020): 114–49. http://dx.doi.org/10.37520/muscz.2019.004.

Full text

Abstract:

The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ’80s and in New York, where the two men met in late May and early June of 1893. There is a detailed description of the voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořá

APA, Harvard, Vancouver, ISO, and other styles

6

Campo-Bowen, Christopher. "Bohemian Rhapsodist: Antonín Dvořák's Píseň bohatýrská and the Historiography of Czech Music." 19th-Century Music 40, no. 2 (2016): 159–81. http://dx.doi.org/10.1525/ncm.2016.40.2.159.

Full text

Abstract:

Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and

APA, Harvard, Vancouver, ISO, and other styles

7

Kudláček, Petr. "The earliest recordings of the works of Antonín Dvořák on standard gramophone records in the collection of the Antonín Dvořák Museum." Musicalia 11, no. 1-2 (2020): 150–74. http://dx.doi.org/10.37520/muscz.2019.005.

Full text

Abstract:

The article deals with a selection of standard gramophone records from the holdings of the National Museum – Antonín Dvořák Museum. The criteria for the selection were the age of the recordings, the material used for making the discs (shellac), and the recording method mechanical). Analysis of the identification marks on the labels served for determination of the time (the recordings in question were made between 1903 and 1916) and place of their origin. Further research on historical perspectives and repertoire is adding to our knowledge about the lives of Czech opera singers (e.g. Bohumil Pt

APA, Harvard, Vancouver, ISO, and other styles

8

Jung, Hermann. "Towards a Characterization of the Symphonies of Zdeněk Fibich and Antonín Dvořák." Musicologica Olomucensia 12, no. 1 (2010): 151–61. http://dx.doi.org/10.5507/mo.2010.019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Beckerman, Michael. "The Real Value of Yellow Journalism: James Creelman and Antonín Dvořák." Musical Quarterly 77, no. 4 (1993): 749–68. http://dx.doi.org/10.1093/mq/77.4.749.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Johnson, Janet. "Review: Antonín Dvořák: Symphony from the New World. CD-ROM (Macintosh) by Robert Winter." Journal of the American Musicological Society 49, no. 1 (1996): 114–26. http://dx.doi.org/10.2307/831955.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

BRODBECK, DAVID. "Dvořák's Reception in Liberal Vienna: Language Ordinances, National Property, and the Rhetoric of Deutschtum." Journal of the American Musicological Society 60, no. 1 (2007): 71–132. http://dx.doi.org/10.1525/jams.2007.60.1.71.

Full text

Abstract:

Abstract Antonín Dvořák emerged into public consciousness in Vienna in late 1879, at a time of crisis within multinational Austria's German-speaking bourgeoisie. The German Liberals had recently fallen from power in the central government and were replaced by a coalition dominated by clerical, conservative, and Slavic parties. This sudden change in fortune initiated a gradual transformation in liberal ideology. Although the liberals' nationalist project had traditionally been of the “civic,” not “ethnic” variety, with a German liberal identity theoretically available to persons of any ethnicit

APA, Harvard, Vancouver, ISO, and other styles

12

Funda, Evelyn. ""New World" Visions and Homegrown Art: National Authenticity in Works of Willa Cather and Antonín Dvořák." MFS Modern Fiction Studies 65, no. 2 (2019): 264–84. http://dx.doi.org/10.1353/mfs.2019.0013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Mabary, Judith. "Antonín Dvořák - Antonín Dvořák. Stabat Mater. Ilse Eerens sop, Michaela Selinger mezzo-sop,. Maximilian Schmitt ten, Florian Boesch bass. Collegium Vocale Gent and the Royal Flemish Philharmonic, Philippe Herreweghe cond. LPH 009, 2013 (1 CD: 74 minutes). Notes included." Nineteenth-Century Music Review 12, no. 1 (2015): 181–83. http://dx.doi.org/10.1017/s1479409814000585.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Neill, Sarah Elaine. "Antonín Dvořák, Symphony No. 7, Op. 70, edited by Jonathan Del Mar. Bärenreiter 10417. (2013), viii + 197pp., € 89,00." Nineteenth-Century Music Review 12, no. 2 (2015): 411–13. http://dx.doi.org/10.1017/s1479409815000270.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Bečica, Jiří. "Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic." Review of Economic Perspectives 18, no. 3 (2018): 285–99. http://dx.doi.org/10.2478/revecp-2018-0014.

Full text

Abstract:

Abstract The paper assesses the professional theatres operating under the Association of Professional Theatres in the Czech Republic in the period 2011-2015 using the financial analysis, particularly the profitability indicator ratio (ROA, ROCE, ROE, ROS) and the rate of income self-sufficiency. The reason for this economic exploration of theatres is in the fact that the service they provide fall under collectively provided public goods (a common feature of most cultural institutions), and that the market is not able to effectively secure these goods on the profit principle. The J. K. Tyl Thea

APA, Harvard, Vancouver, ISO, and other styles

16

Vondráček, David. "Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)." Studia Musicologica 59, no. 3-4 (2018): 301–8. http://dx.doi.org/10.1556/6.2018.59.3-4.3.

Full text

Abstract:

Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's ope

APA, Harvard, Vancouver, ISO, and other styles

17

Katz, Derek. "Antonín Dvořák, Piano Concerto in G minor op. 33. Facsimile, with a preface by András Schiff and introductions by Jarmila Tauerová and Jan Dehner (Munich: G. Henle, 2004). 170pp. €125." Nineteenth-Century Music Review 3, no. 1 (2006): 158–62. http://dx.doi.org/10.1017/s1479409800000501.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Cury, Maria Zilda Ferreira, and Guilherme Augusto Lopes de Souza. "Entre modulações musicais e literárias: O inverno e depois, de Luiz Antonio de Assis Brasil." Navegações 11, no. 1 (2018): 3. http://dx.doi.org/10.15448/1983-4276.2018.1.33012.

Full text

Abstract:

O inverno e depois, romance de Luiz Antonio de Assis Brasil, exibe uma articulada reflexão acerca da música clássica e da vida de artista, assim como os desafios dos musicistas de traduzir, por meio de sua arte, os sentimentos que as palavras não expressam. À vista disso, pretende-se fazer uma leitura do romance a partir das teorias dos estudos músico-literários, evidenciando as influências do Concerto para violoncelo e orquestra, de Antonín Dvořák – peça chave do romance – na narrativa de Assis Brasil, tanto no plano estrutural, como no plano de seu conteúdo. *** Between literary and musical

APA, Harvard, Vancouver, ISO, and other styles

19

Jellinek, G. "Rusalka. Antonin Dvorak." Opera Quarterly 22, no. 1 (2006): 191–92. http://dx.doi.org/10.1093/oq/kbi088.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Jellinek, G. "Vanda. Antonin Dvorak." Opera Quarterly 18, no. 1 (2002): 126–27. http://dx.doi.org/10.1093/oq/18.1.126.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Benešová, Alena. "Antonín Dvořák's Biblical Songs: A Journey from America to Europe and Back." Musicologica Olomucensia 32, no. 1 (2020): 140–51. http://dx.doi.org/10.5507/mo.2020.017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Kvak, Daniel. "Generování žánrově specifické hudební transkripce Antonína Dvořáka prostřednictvím variačního autoenkodéru." Musicologica Brunensia, no. 2 (2021): 49–61. http://dx.doi.org/10.5817/mb2021-2-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Lipovac, Marijan. "Od plzenjskog piva do Dvořáka." Senjski zbornik 47, no. 1 (2020): 209–18. http://dx.doi.org/10.31953/sz.47.1.12.

Full text

Abstract:

Poveznice Vjenceslava Novaka s Češkom bile su višestruke, a najvažnija je njegovo češko porijeklo po ocu koji se iz Hradeca Králové doselio u Senj, a koje je vidljivo i u njegovom imenu koje je izvorno glasilo Václav, što je češki oblik imena Vjenceslav. Druga važna poveznica Novaka i Češke je činjenica da je od 1884. do 1887. studirao na Konzervatoriju u Pragu, što je očito imalo utjecaja na njegovo stvaralaštvo jer se radnja dva Novakova romana, Pavao Šegota (1888.) i Dva svijeta (1901.) djelomično odvija u Pragu. Novak u romanu Pavao Šegota prikazuje život nadarenoga seoskog mladića Pavla Š

APA, Harvard, Vancouver, ISO, and other styles

24

Garritz, Andoni. "Alexander Brodin. El músico-químico." Educación Química 12, no. 4 (2018): 190. http://dx.doi.org/10.22201/fq.18708404e.2001.4.66324.

Full text

Abstract:

<span>El 9 de junio de 2001, por la noche, celebramos en un concierto el octogésimo quinto aniversario de la Facultad de Química de la UNAM. Después de escuchar la sinfonía Desde el nuevo mundo de Antonín Dvorák, el director de la orquesta, Lior Shambadal, nos regaló las Danzas Polovetzianas del Príncipe Igor, de Alexander Borodin. Aunque no lo dijo nunca, yo supe que ese regalo estaba dedicado a una comunidad de químicos, ya que Borodin dedicó más tiempo de su vida a la química que a la música, aunque siempre será recordado más como músico que como químico.</span>

APA, Harvard, Vancouver, ISO, and other styles

25

Vieira, Carolina Deconto. "Geografia da música e políticas espaciais: a 9ª sinfonia de Antonin Dvořák e o nacionalismo estadunidense." Para Onde!? 6, no. 2 (2012): 178–87. http://dx.doi.org/10.22456/1982-0003.36495.

Full text

Abstract:

O presente texto busca trazer novas abordagens em geografia cultural e da música através do estabelecimento de relações entre a Música Romântica Européia do Século XIX e a formação dos Estados-Nação. Para estudo de caso, foi escolhida a Nona Sinfonia de Antonin Dvořak, intitulada “From the New World”. A partir de uma breve discussão do processo de formação do Nacionalismo Estadunidense, foi feita uma análise preliminar do impacto dessa obra na formação de uma identidade musical norte-americana. Conclui-se que, dentro do projeto nacional dos E.U.A., a sinfonia possui um papel bastante relevante

APA, Harvard, Vancouver, ISO, and other styles

26

Beckerman, Michael. "Henry Krehbiel, Antonin Dvorak, and the Symphony "From the New World"." Notes 49, no. 2 (1992): 447. http://dx.doi.org/10.2307/897884.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Johnson, Janet. "Antonin Dvorak: Symphony from the New World. CD-ROM (Macintosh) . Robert Winter ." Journal of the American Musicological Society 49, no. 1 (1996): 114–26. http://dx.doi.org/10.1525/jams.1996.49.1.03a00040.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Dew, Spencer. "Rusalka. Opera. Czech with English Subtitles. Music by Antonin Dvořák, libretto by Jaroslav Kvapil. Performed by Bayerisches Staatsorchester, conducted by Tomáš Han Dvořák, staged by Martin Kušej. C Major Studio, 2011. 189 minutes. DVD, $29.99." Religious Studies Review 39, no. 4 (2013): 255. http://dx.doi.org/10.1111/rsr.12081_10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Beveridge, David R., Milan Pospisil, and Marta Ottlova. "Antonin Dvorak 1841-1991: Report of the International Musicological Congress, Dobris, 17th-20th September 1991." Notes 52, no. 3 (1996): 815. http://dx.doi.org/10.2307/898642.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Richter, Christoph. "Dramen, in Musik gesetzt." Musik-, Tanz- und Kunsttherapie 22, no. 4 (2011): 175–82. http://dx.doi.org/10.1026/0933-6885/a000058.

Full text

Abstract:

Der Begriff „Drama” umfasst ein weites Spektrum von Formen der Darstellung eines Geschehens, die sich in Gegenstand, Mitteln und vordergründigem Zweck der Darstellung unterscheiden. Gemeinsam ist ihnen jedoch das Potential, dem Menschen als Spiel im Sinne Hans-Georg Gadamers–als sich aus sich selbst ergebende Spielbewegung, als nachahmendes Spielen von etwas und als darstellendes Spiel für jemanden, der selbst zum Mitspieler, ja zum Gespielten wird–eine „Selbstbegegnung” zu ermöglichen. Musik kann als Drama verstanden werden, weil sie unmittelbar wirksam berührt und bewegt, Erfahren und Handel

APA, Harvard, Vancouver, ISO, and other styles

31

GERK, SARAH. "“Common Joys, Sorrows, Adventures, and Struggles”: Transnational Encounters in Amy Beach's “Gaelic” Symphony." Journal of the Society for American Music 10, no. 2 (2016): 149–80. http://dx.doi.org/10.1017/s1752196316000055.

Full text

Abstract:

AbstractAmy Beach's “Gaelic” Symphony is the most prominent nineteenth-century American expression of Irishness in music. Despite the reference to another country in its title, the work has largely been interpreted via the lens of American nationalism. Its historiography reflects the immense interest in national style in nineteenth-century American music scholarship. This article initiates a discussion about nineteenth-century American composers’ engagement with the world beyond their own national borders. It explores the “Gaelic” Symphony's transnational dimensions, which engage largely with

APA, Harvard, Vancouver, ISO, and other styles

32

Золотарьова, Н. С., та Т. О. Оліферовська. "ВПЛИВ ВИКОНАВСЬКОЇ ШКОЛИ НА ІНТЕРПРЕТАЦІЮ ТВОРУ (на прикладі віолончельного концерту А. Дворжака)". Музикознавча думка Дніпропетровщини, № 15 (4 листопада 2019): 149–63. http://dx.doi.org/10.33287/221912.

Full text

Abstract:

The purpose of this article is analysis of possible versions concerning the interpretation of the Antonin Dvorak’s concert for cello with orchestra, h-moll or. 104, their origin and influence on the manner of performance. Moscow and Leningrad schools are taken as an example. Schools of S. Kozolupov and O. Strimer represent vividly different views on means of theory and interpretation. In my opinion, the most colorful and controversial on the matter of interpretation are the following representatives of the music schools: M. Rostropovich as a representative of the S. Kozolupov views and D. Shaf

APA, Harvard, Vancouver, ISO, and other styles

33

McKone, Mark J., and David A. Beccue. "The Iowa Bird That Inspired Antonín Dvořák's American String Quartet in 1893: Controversy over the Species’ Identity and Why It Matters." Nineteenth-Century Music Review, October 23, 2020, 1–17. http://dx.doi.org/10.1017/s1479409820000282.

Full text

Abstract:

Antonín Dvořák composed the String Quartet in F major (op. 96, the ‘American’) in June 1893 while visiting the town of Spillville, Iowa, USA. Based on accounts from Dvořák's secretary Josef Kovařík, portions of the quartet's Scherzo movement were inspired by birdsong Dvořák heard in Spillville. Kovařík's account included both Dvořák's visual description of the bird that inspired him and a transcribed fragment of the birdsong Dvořák reportedly used. In 1954, Clapham identified the bird as a scarlet tanager (Piranga olivacea), based mainly on the visual description. This widely accepted identifi

APA, Harvard, Vancouver, ISO, and other styles

34

Branda, Eva. "Letting the Music ‘Speak For Itself’? Dvořák as Strategist." Nineteenth-Century Music Review, March 7, 2022, 1–26. http://dx.doi.org/10.1017/s1479409821000501.

Full text

Abstract:

‘I only write music and let it speak for itself’ – such was Antonín Dvořák's attitude, according to Josef Kovařík, the composer's personal secretary in New York. Indeed, throughout his career, Dvořák seemed reluctant to share his views publicly. He did not contribute articles to Czech periodicals, his acquaintances were well aware of his dread of making public appearances and speeches, and contemporary critics often commented on his humble and unenterprising nature. Yet Dvořák was not as passive as his alleged statement to Kovařík would imply. While visiting England during the 1880s, he became

APA, Harvard, Vancouver, ISO, and other styles

35

Nedbal, Martin. "Antonín Dvořák, Tragic Overture, B 16a. Ed. Ludmila Šmídová. Prague: Etnologický ústav Akademie věd České republiky, 2016, 102 pp. ISBN 978-80-88081-01-2." Nineteenth-Century Music Review, August 16, 2021, 1–2. http://dx.doi.org/10.1017/s1479409821000033.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Sumner Lott, Marie. "Antonín Dvořák. String Quartet No. 10 in E-flat major, Op. 51. Edited by Hartmut Schick. Bärenreiter-Verlag Urtext. Kassel and Prague: Bärenreiter, 2019. Study Score. xi, 50 pp. € 12.95 - Antonín Dvořák. Piano Quartet in D Major, Op. 23. Edited by Robin Tait. Preface by David Beveridge. Bärenreiter-Verlag Urtext. Kassel and Prague: Bärenreiter, 2017. Piano Score. xiii, 73 pp. € 24.95 - Antonín Dvořák. Serenade for Wind Instruments, Violoncello and Double Bass, Op. 44. Edited by Robin Tait. Preface by David Beveridge. Bärenreiter-Verlag Urtext. Kassel and Prague: Bärenreiter, 2016. Score. xiii, 70 pp. € 27.95." Nineteenth-Century Music Review, July 19, 2021, 1–4. http://dx.doi.org/10.1017/s1479409821000057.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

"Antonin Dvorak, my father." Choice Reviews Online 31, no. 10 (1994): 31–5362. http://dx.doi.org/10.5860/choice.31-5362.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

de Frutos Domínguez, Rocío, and María del Mar Galera Núñez. "Animaciones musicales: Danza Eslava Nº.7 de Dvorak, tormenta." Portal de Vídeo Didáctico de la Universidad de Sevilla, September 30, 2021. http://dx.doi.org/10.35466/vid2021n7145.

Full text

Abstract:

Se trata de una animación realizada sobre un fragmento de la Danza Eslava no.7 en do menor op.46 de Antonin Dvorak. Se ha optado por una estética visual con elementos figurativos de la naturaleza y sus fenómenos que se emplean para resaltar la forma musical y otros parámetros sonoros y psicológicos de la obra. En el proyecto Animaciones Musicales, a las alumnas y alumnos del grado de Educación Infantil dentro de la asignatura de Didáctica de la Música se pedía elegir libremente una pieza musical instrumental de entre 1 y 4 minutos de duración y, tras su análisis (forma, carácter, parámetros so

APA, Harvard, Vancouver, ISO, and other styles

39

"Scores Received - Beethoven Ludwig van, Konzert Nr. 2 in B für Klavier und Orchester/ Concerto No. 2 in B-flat major for Pianoforte and Orchestra, op. 19, ed. Jonathan Del Mar (Kassel, Bärenreiter, 2013), Score, Piano, and Piano Reduction, 74, 35, and 46 pp. - Beethoven Ludwig van, Sonate in f für Klavier/ Sonata in F minor, op. 57, “Appassionata,” ed. Jonathan Del Mar (Kassel, Bärenreiter, 2014), 47 pp. - Beethoven Ludwig van, Concerto No. 4 in G major for Pianoforte and Orchestra, op. 58, ed. Jonathan Del Mar (Kassel, Bärenreiter, 2015), Critical Commentary, 54 pp. - Dvořák Antonín, Smyčcový kvintet G dur/ String Quintet in G major/Streichquintett G-Dur, op. 77, ed. František Bartoš, Antonín Pokorný (Kassel, Bärenreiter, 2014), Miniature Score, 50 pp. - Dvořák Antonín, Smyčcový kvartet č. 2 B dur/ String Quartet No. 2 in B-flat major/Streichquartett Nr. 2 B-Dur, B 17, ed., Antonín Pokorný, Karel Šolc (Kassel, Bärenreiter, 2014), Miniature Score, 73 pp. - Schubert Franz Peter, Sonate in c für Klavier/ Sonata I C minor for Piano, D958, ed. Walburga Litschauer (Kassel, Bärenreiter, 2015), 42 pp. - Schulhoff Erwin, Sonáty č 1-3 pro klavír/ Sonatas Nos. 1-3 for Piano/ Sonaten Nr. 1-3 für Klavier, ed. Michael Kube (Kassel, Bärenreiter, 2014), 66 pp. - Schumann Robert, Liederkreis von Joseph Freiherrn von Eichendorff, op. 39, ed. Hansjörg Ewert (Kassel, Bärenreiter, 2015), 39 pp. - Verdi Giuseppe, Messa da Requiem, ed. Marco Uvietta (Kassel, Bärenreiter, 2014), Score, 321 pp." Nineteenth-Century Music Review 12, no. 2 (2015): 415. http://dx.doi.org/10.1017/s1479409815000440.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!