Piano Quintets in A, Op. 5 & Op. 81

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Piano Quintets in A, Op. 5 & Op. 81

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dc.contributor.other Antonín Dvořák es
dc.contributor.other Sviatoslav Richter es
dc.contributor.other Borodin Quartet es
dc.coverage.spatial Prague, Czech Republic es
dc.date.accessioned 2012-07-28T04:26:17Z
dc.date.available 2012-07-28T04:26:17Z
dc.date.created 1982 es
dc.date.issued 2012-07-27
dc.identifier.uri http://hdl.handle.net/123456789/660
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 Piano Quintet in A, Op. 5 ; Allegro ma non troppo, Andante sostenuto, Finale (Allegro con brio)-- Piano Quintet in A, Op. 81 ; Allegro, ma non tanto, Dumka (Andante con moto), Scherzo (Furiant) (Molto vivace), Finale (Allegro). es
dc.format.medium 1 CD-Rom (67 min., 02 seg.) : stereo ; 4 3/4 pulg. es
dc.language.iso en es
dc.rights Uninorte F.M. Estéreo es
dc.subject.lcc 14261176 es
dc.subject.lcsh Piano quintets ; Quintettes pour piano. es
dc.title Piano Quintets in A, Op. 5 & Op. 81 es
dc.title.alternative Piano Quintet in A, Op. 5 es
dc.title.alternative Piano Quintet in A, Op. 81 es
dc.title.alternative Piano Quintets es
dc.language.rfc3066 eng es
dc.rights.holder Phonogram International B.V. es
dc.identifier.classification 028941242921 es
dc.subject.cdu Dv.01 es


Files in this item

Files Length Size Format View Description
Piano Quintet in A, Op. 5-Completo.wav 27:29 277.4Mb WAV audio WAV
Piano Quintet in A, Op. 81-Completo.wav 40:22 407.5Mb WAV audio WAV
1. Piano Quinte ... -Allegro ma non troppo.mp3 8:17 5.682Mb Unknown Mp3
2. Piano Quintet in A, Op. 5-Andante sostenuto.mp3 10:38 7.294Mb Unknown Mp3
3. Piano Quinte ... ale (Allegro con brio).mp3 8:39 5.933Mb Unknown Mp3
4. Piano Quinte ... -Allegro, ma non tanto.mp3 13:21 9.158Mb Unknown Mp3
5. Piano Quinte ... mka (Andante con moto).mp3 16:21 11.21Mb Unknown Mp3
6. Piano Quinte ... urlant) (Molto vivace).mp3 3:46 2.588Mb Unknown Mp3
7. Piano Quintet in A, Op. 81-Finale (Allegro).mp3 7:02 4.822Mb Unknown Mp3

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