Antonin Dvo K

This book is a personal biography by Antonin Dvořák's son who at the age of seventy-five years old decided to "write about the events missing from the other books about my father." For musicologists, Otakar's biography of his father contains many new items, but basically the book portrays Dvořák as a father.

Catapulted to international fame by the runaway success of his Slavonic Dances, Dvorak was, by the end of his life, one of the world's most celebrated composers. This book traces the course of an extraordinary creative career that embraced the peasant music-making of rural Bohemia, the grand receptions of Victorian England and the dynamism of fin-de-siecle New York to shape the most versatile genius in the annals of late Romanticism.

Prologue. The Big Problem -- The Welcome Arrival -- The Symphonic Premiere -- The Aesthetic Conflict -- The National Question -- The Brewing Storm -- The Fiery Debate -- The Racial Challenge -- The Spiritual Aftermath -- Epilogue. The New World -- Appendix. The Musical Tornado.

"Studies in Modern Music: Frederick Chopin, Antonin Dvořák, Johannes Brahms" by W. H. Hadow. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

The stories that inspired Antonin Dvorak's enchanting operas Once upon a time, deep in the forests of Bohemia...enchantment was as thick as the trees, and young men and women of all kinds met and fell in love under the spell of the silver moon. Many years later, Czech composer Antonin Dvorak (1841-1904) set some of their stories to music. As the stories came to life on stage, they found an audience in the hearts of grownups and children around the world. Here are three of Dvorak's Bohemian tales, richly told and lovingly illustrated. Meet Rusalka, Bohemia's own little mermaid; and Lidushka, the peasant who danced with a king. Then there is Kate, saved from certain doom by her own bad temper! Just as in all the best fairytales, love suffers and is rewarded in these stories, and a good heart and quick thinking are enough to win the day. Antonin Dvorak's own life had a bit of a fairy tale in it, as readers learn in these pages. His musical talent lifted him from the shopkeeper's life he was born to, up to the heights of international stardom. But his art was always deeply rooted in the folktales and songs of his homeland. Silver Moon celebrates that wellspring of creativity in a new and luminous way.

A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”