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Download Dvořák: Cello Concerto by Jan Smaczny PDF

By Jan Smaczny

Even though Dvor?k's cello concerto is tremendously well known, no prolonged learn of it's been undertaken hitherto. This e-book is a finished research meant for concertgoers and scholars of this well-loved paintings. It considers features of old history, shape, virtuosity, functionality and the concerto's wealthy own content material. This advisor sees the paintings as a vital technique of exploring the composer's emotional existence and hyperlinks it in detail to the girl who used to be most likely his old flame.

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Additional info for Dvořák: Cello Concerto

Example text

As with the first appearance of the second subject, this 44 The score I: forms and melodies Ex. 1 Molto sostenuto in tempo q»¡ºº # Solo cello & # [c] b œ b ˙ . b œ b œ b ˙ . F molto espressivo e sostenuto ˙ Strings b b b ˙ ˙˙ # ˙˙ # # ˙˙˙ ? # # [c] æ æ æ ∏ Z Flute solo 6 p # #˙ & # ˙ f ˙æ ? # # n # ˙˙œ J 10 & ## ˙˙˙ æ b˙ . bœ bœ b˙ . œ # # ˙˙˙ ... # œœœ æ æ æ # # ˙˙˙ Ó #œ œ #œ #œ π Œ #œ #œ œ œ #˙ . œ˙˙˙æ Œ Ó j # œ œ & # #œ ˙. # æ˙ ? # # ‹ # ˙˙˙œ Œ œ #œ œ #˙ æ ˙˙˙æ # pizz. œ # ˙˙˙ J # ˙Jœ Œp ‰ ‰ Œ ˙˙˙æ ˙ œ Œ J‰ p j #˙ œ œ œ .

N œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . > . œ. œ. > . . œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ. B # # [c] œ Z Z Í vivo Í p spiccato [Allegro] Solo cello B # # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ . œ. Concerto separate it from the products of Dvorˇák’s first fifteen months in America, there are also some marked similarities, particularly in aspects of thematic design. 1; to facilitate comparison, the Cello Concerto melody is transposed from its original B minor into E minor). A number of more motivic features which can conveniently be described as ‘American’ also occur, for instance at the Tempo 1 marking at bar 110 in the first movement, where the cello solo provides a figurational development of the opening theme following a generally pentatonic shape (see Ex.

Jœ œœ œ œ œ œ œ œ & œ œ ˙ œ œ. œ œ Fl. Ob. J f 13 Violins appearance in the continuous sketch, the second theme had crystallised to Dvorˇák’s satisfaction sufficiently for him not to need to make much alteration on the page or to work through variants before coming to the state of the melody that has delighted the world ever since the first performance. Nevertheless, in some subtle ways it is still far from the final form it reached in the finished score, and a comparison of the preliminary and final versions is instructive (see Ex.

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