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  • Romantic Pieces (Dvořák) - Wikipedia
    Dvořák probably intended to create another movement, but it was unfinished, only eight bars are preserved The whole composition ends with a slow movement, which is rather atypical
  • Dvořák: 4 Romantic Pieces, Op. 75 - sin80
    The last movement is the most complicated; its elegic mood develops from short opening passage Dvořák probably intended to create another movement, but it was unfinished, only eight bars are preserved
  • Symphony No. 2 in B flat Major, Op. 4, B12 | Antonín Dvořák
    The most original of these is the introduction to the fourth movement: while it only covers a few bars, the music could be described as manifestly avant-garde, leaving listeners wondering if the composer of this particular passage and the maestro behind Slavonic Dances were one and the same
  • Symphony No. 2 (Dvořák) - Wikipedia
    The Symphony No 2 in B-flat major, Op 4, B 12 was composed by Antonín Dvořák between August and October 1865 Dvořák sent the score to be bound, but could not pay the binder, who kept the score
  • Score and Parts Errors - James Ross Conductor
    It should be in the middle of a 25-bar rest, after the first 6 bars' rest, then another 19 bars until the next entry, where F is marked incorrectly in the part
  • 4 Romantic Pieces, Op. 75 by Antonín Dvořák (1841-1904)
    He left the musical content of the arrangement for violin and piano almost unchanged; he only slightly altered the harmonic foundations in the first movement (bars 30–36), and extended the end of the third movement with an additional four bars
  • Dvořák - Violin concerto [ANALYSIS]
    10 chapters, 11 videos, practical exercises, and examples with scores: this video course produced for iClassical-Academy will show you, through a bar-by-bar analysis of excerpts ranging from Mozart to Mahler and Copland, how to build your own technique in the most logical and effective way
  • Dvořák: Violin Concerto Glazounov: Violin Concerto Schubert . . .
    Its last bars have a quiet orchestrai accompaniment that leads directly into thè last movement, a brilliant rondo in which thè main theme masquerades in a variety of rhythmic and melodie guises that never hide its identity




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