Rusalka

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Rusalka

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dc.contributor.other Antonín Dvořák es
dc.contributor.other Eduard Haken es
dc.contributor.other Milda Šubrotová es
dc.contributor.other Marie Ovčačíková es
dc.contributor.other Ivo Žídek es
dc.contributor.other Alena Míková es
dc.contributor.other Jadwiga Wysoczanská es
dc.contributor.other Eva Hlobilová es
dc.contributor.other Věra Krilová es
dc.contributor.other Jiří Joran es
dc.contributor.other Ivanna Mixová es
dc.contributor.other Václav Bednář es
dc.contributor.other Prague National Theatre Chorus es
dc.contributor.other Milan Malý es
dc.contributor.other Prague National Theatre Orchestra es
dc.contributor.other Zdeněk Chalabala es
dc.coverage.spatial Czech Republic, Prague es
dc.date.accessioned 2012-08-21T15:28:42Z
dc.date.available 1962
dc.date.available 2012-08-21T15:28:42Z
dc.date.issued 2012-08-21
dc.identifier.uri http://hdl.handle.net/123456789/1956
dc.description.abstract Widely regarded as the most distinguished of Czech composers, Antonin Dvorák (1841-1904) produced attractive and vigorous music possessed of clear formal outlines, melodies that are both memorable and spontaneous-sounding, and a colorful, effective instrumental sense. Dvorák is considered one of the major figures of nationalism, both proselytizing for and making actual use of folk influences, which he expertly combined with Classical forms in works of all genres. His symphonies are among his most widely appreciated works; the Symphony No. 9 ("From the New World," 1893) takes a place among the finest and most popular examples of the symphonic literature. Similarly, his Cello Concerto (1894-1895) is one of the cornerstones of the repertory, providing the soloist an opportunity for virtuosic flair and soaring expressivity. Dvorák displayed special skill in writing for chamber ensembles, producing dozens of such works; among these, his 14 string quartets (1862-1895), the "American" Quintet (1893) and the "Dumky" Trio (1890-1891) are outstanding examples of their respective genres, overflowing with attractive folklike melodies set like jewels into the solid fixtures of Brahmsian absolute forms. Dvorák's "American" and "New World" works arose during the composer's sojourn in the United States in the early 1890s; he was uneasy with American high society and retreated to a small, predominantly Czech town in Iowa for summer vacations during his stay. However, he did make the acquaintance of the pioneering African-American baritone H.T. Burleigh, who may have influenced the seemingly spiritual-like melodies in the "New World" symphony and other works; some claim that the similarity resulted instead from a natural affinity between African-American and Eastern European melodic structures. By that time, Dvorák was among the most celebrated of European composers, seen by many as the heir to Brahms, who had championed Dvorák during the younger composer's long climb to the top. The son of a butcher and occasional zither player, Dvorák studied the organ in Prague as a young man and worked variously as a café violist and church organist during the 1860s and 1870s while creating a growing body of symphonies, chamber music, and Czech-language opera. For three years in the 1870s he won a government grant (the Viennese critic Hanslick was among the judges) designed to help the careers of struggling young creative artists. Brahms gained for Dvorák a contract with his own publisher, Simrock, in 1877; the association proved a profitable one despite an initial controversy that flared when Dvorák insisted on including Czech-language work titles on the printed covers, a novelty in those musically German-dominated times. In the 1880s and 1890s Dvorák's reputation became international in scope thanks to a series of major masterpieces that included the Seventh, Eighth, and "New World" symphonies. At the end of his life he turned to opera once again; Rusalka, from 1901, incorporates Wagnerian influences into the musical telling of its legend-based story, and remains the most frequently performed of the composer's vocal works. Dvorák, a professor at Prague University from 1891 on, exerted a deep influence on Czech music of the twentieth century; among his students was Josef Suk, who also became his son-in-law. © AMG, All Music Guide es
dc.description.tableofcontents CD1-- Overture-- Act One ; “Ho ho ho!” (Three dryads The Watersprite), “Watersprite my Father dear!” (Rusalka The Watersprite), “He comes here frequently (Rusalka The Watersprite), “O moon high up in the deep sky” (Rusalka The Watersprite Ježibaba), “Your ancient wisdom knows everything“ (Rusalka, Ježibaba), “Abracadabra!” (Ježibaba, The Watersprite, The Hunter), “Here she appeared and again disappeared!” (The Prince, The Hunter), “The hunt is over return home at once” (The Prince, The Naiads, The Watersprite), “The know you’re but magic that will pass” (The Prince)-- Act Two ; “Well then my dear boy” (The Game-keeper, The turnspit), “A week now do you dwell with me” (The Prince, The Foreign Princess), Festive music (Ballet)-- CD2-- “No one in this world can give you” (The Waterprite), “White blossoms all along the road” (Chorus, The Watersprite), “Rusalka daughter I am here!” (The Watersprite, Rusalka), “Strange fire in your eyes is burning” (The Foreign Princess, The Prince, The Watersprite)-- Act Three ; “Insensible water power” (Rusalka), “Ah ah! Already you have come back?” (Ježibaba, Rusalka), “Uprooted and banished” (Rusalka, The Naiads), “That you’re afraid? Don’t be silly” (The Gamekeeper, The Turnspit, Ježibaba, The Watersprite), “Hair golden hair have I (Three Dryads, The Watersprite), “Where are you my white doe?” (The Prince), “Do you still know me lover?” (Rusulka, The Prince, The Watersprite)-- es
dc.format.extent CD 1 (76:54 min) ; CD 2 (71:57 min) es
dc.format.medium 2 CD-Rom : Stereo ; 4 3/4 plg. es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 762111214 es
dc.subject.lcsh Opera es
dc.title Rusalka es
dc.title.alternative Rusalka Opera in 3 Acts Op. 114 es
dc.language.rfc3066 eng es
dc.identifier.classification 8590233001322 es
dc.subject.cdu Dv.07 es


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Overture & Act One.wav 53:42 541.9Mb WAV audio wav
Act Two.wav 43:26 438.4Mb WAV audio wav
Act Three.wav 51:34 520.5Mb WAV audio wav

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