Podcast appearances and mentions of antonin dvo

This week on The Sound Kitchen you'll hear the answer to the question about Camille Claudel's sculpture. There's a lovely spring poem from RFI Listeners Club member Helmut Matt, The Sound Kitchen mailbag, “The Listener's Corner” with Paul Myers, and Erwan Rome's “Music from Erwan” – all that, and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all!Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner!More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!This week's quiz: On 22 February, I asked you a question about the French sculptress Camille Claudel. That week, after an incredible find, her lost-for-over-100-years sculpture The Mature Age was sold at auction for 3.1 million euros.You were to re-read our article “Claudel bronze sculpture found by chance fetches €3 million at France auction”, and send in the answer to this question: Aside from The Mature Age, what are the other names of Claudel's sculpture?The answer is: To quote our article: “Also known as Destiny, The Path of Life, or Fatality, the work was originally a commission from the state but was never completed.”In addition to the quiz question, there was the bonus question, suggested by Mogire Machuki from Kissi, Kenya: “What is the one thing you can't do without?”Do you have a bonus question idea? Send it to us! The winners are: Amir Jameel, the president of the RFI Online Visitors Club in Sahiwal, Pakistan. Amir is also the winner of this week's bonus question. Congratulations, Amir, on your double win !Also on the list of lucky winners this week are Sultan Sarkar, president of the Shetu RFI Fan Club in Naogaon, Bangladesh; Muhammed Raiyan, a member of the RFI International DX Radio Listeners Club in Murshidabad, India as well as Sharifun Islam Nitu, a member of the RFI Amour Fan Club in Rajshahi, Bangladesh. Last but not least, RFI Listeners Club member Jayanta Chakrabarty from New Delhi, India.Congratulations, winners!Here's the music you heard on this week's programme: The first movement from Antonin Dvořák's String Quartet No. 12 in F major, Op. 96, ("American"), performed by the Cleveland Quartet; “First Sextet” from the film Claudel scored by Gabriel Yared; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “La Mauvaise Reputation” by Georges Brassens, performed by the composer.Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read Paul Myers' article “Zimbabwe's aspiring Olympics supremo Coventry targets development of athletes”, which will help you with the answer.You have until 14 April to enter this week's quiz; the winners will be announced on the 19 April podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceClick here to learn how to win a special Sound Kitchen prize.Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

Antonin Dvořák - String Quartet No. 1: 3rd movementVlach Quartet PragueMore info about today's track: Naxos 8.557357Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Alles blickt in die USA. Wir fragen uns: Wie kam die Musik nach Amerika? Und wieviel amerikanische Elemente stecken in Antonin Dvořáks Neunter Symphonie, die allgemein als Startschuss zu einer eigenen Kunstmusik der USA gesehen wurde. Vieles klingt in dieser „Symphonie aus der Neuen Welt“ tatsächlich nach Spirituals, vieles hat auch die kommenden Generationen dazu ermutigt, Volksmusik in „ernsthafte“ Kompositionen einfließen zu lassen. Manches aber hat Dvořák in seinem Gastland auch vorgefunden. Anderes wieder beanspruchen tschechische Forscher eher für Prag als für New York – akustische Einblicke in ein heikles Thema kultureller Aneignungen.

Nata a Sorrento, in Western Australia, Elena Perroni è tornata a casa da Roma per interpretare Rusalka nell'omonima opera di Antonin Dvořák a Perth.

The first violinist of the Takács Quartet weaves scholarship on Edward Elgar, Antonin Dvořák, Bela Bartók and Benjamin Britten with a deeply personal evocation of belonging, national identity and the private life of a string quartet. Edward Dusinberre's Distant Melodies: Music in Search of Home (Faber, The University of Chicago Press 2022) alternates traditional musicology with personal reminiscence, situating details of Dusinberre's English upbringing and current life in Colorado, alongside Dvořák's tenure as director of the National Conservatory of Music of America and Bartók's bleak final years of illness and longing as a Hungarian refugee. He gives behind-the-scenes access to quartet life, an esoteric and often guarded profession. Dusinberre explains the rehearsal process, reveals the complexity of auditioning new members and evokes the struggles performing musicians faced during the Covid-19 pandemic. The evolution of sound and style is an important topic for a quartet formed almost 50 years ago in 1970's Budapest. Now based in Boulder, Colorado, with cellist András Fejér the only remaining founding member, Dusinberre considers the subject of music and nationalism as it relates to the shifting identity of the Takács and their repertoire. This exploration of change and exchange speaks to our fluctuating relationships with self-identity and difficulties in defining home. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The first violinist of the Takács Quartet weaves scholarship on Edward Elgar, Antonin Dvořák, Bela Bartók and Benjamin Britten with a deeply personal evocation of belonging, national identity and the private life of a string quartet. Edward Dusinberre's Distant Melodies: Music in Search of Home (Faber, The University of Chicago Press 2022) alternates traditional musicology with personal reminiscence, situating details of Dusinberre's English upbringing and current life in Colorado, alongside Dvořák's tenure as director of the National Conservatory of Music of America and Bartók's bleak final years of illness and longing as a Hungarian refugee. He gives behind-the-scenes access to quartet life, an esoteric and often guarded profession. Dusinberre explains the rehearsal process, reveals the complexity of auditioning new members and evokes the struggles performing musicians faced during the Covid-19 pandemic. The evolution of sound and style is an important topic for a quartet formed almost 50 years ago in 1970's Budapest. Now based in Boulder, Colorado, with cellist András Fejér the only remaining founding member, Dusinberre considers the subject of music and nationalism as it relates to the shifting identity of the Takács and their repertoire. This exploration of change and exchange speaks to our fluctuating relationships with self-identity and difficulties in defining home. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The first violinist of the Takács Quartet weaves scholarship on Edward Elgar, Antonin Dvořák, Bela Bartók and Benjamin Britten with a deeply personal evocation of belonging, national identity and the private life of a string quartet. Edward Dusinberre's Distant Melodies: Music in Search of Home (Faber, The University of Chicago Press 2022) alternates traditional musicology with personal reminiscence, situating details of Dusinberre's English upbringing and current life in Colorado, alongside Dvořák's tenure as director of the National Conservatory of Music of America and Bartók's bleak final years of illness and longing as a Hungarian refugee. He gives behind-the-scenes access to quartet life, an esoteric and often guarded profession. Dusinberre explains the rehearsal process, reveals the complexity of auditioning new members and evokes the struggles performing musicians faced during the Covid-19 pandemic. The evolution of sound and style is an important topic for a quartet formed almost 50 years ago in 1970's Budapest. Now based in Boulder, Colorado, with cellist András Fejér the only remaining founding member, Dusinberre considers the subject of music and nationalism as it relates to the shifting identity of the Takács and their repertoire. This exploration of change and exchange speaks to our fluctuating relationships with self-identity and difficulties in defining home. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

We'll enjoy his Symphony No. 9 "From the New World" at the end, but first we look at his influential and controversial time in the United States, itself a journey that began decades prior. Join us to learn how he was discovered, his musical styles, and some pretty funny stories!Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

Join us as we discuss a film of mixed reviews, Stanley Kubrick's 1975 historic and pastoral drama on Continental Europe. Intro music: "Magne Pater" by Dominican Schola Cantorum. Outro music: "Czech Suite, I. Praeludium Pastorale" by Antonin Dvořák.

Eind 19de eeuw. Een Tsjechische componist maakt zijn Amerikaanse droom waar. Antonin Dvořák schopt het van violist in een simpel orkestje tot wereldberoemde componist. En dan doet een rijke Amerikaanse hem een aanbod dat hij niet kan weigeren. Dvořák steekt de oceaan over en componeert een werk dat de ziel van Amerika uitdrukt. Het wordt zo bekend dat Neil Armstrong het in 1969 meeneemt naar de maan. Moeilijk woord: ontdek wat een symfonie is Beste uitvoering: New York Philharmonic

We mark the birth on September 4, 1824 – 199 years ago today – of the composer and organist Josef Anton Bruckner, in the Austrian village of Ansfelden, which today is a suburb of the city of Linz.  He died in the Austrian capital of Vienna on October 11, 1896, at the age of 72. It was Gustav Mahler (1860-1911) who famously said that Bruckner was: “Half simpleton, half God.” Strangeness I would be so bold as to suggest that there is such a thing as a “strangeness spectrum,” a scale of personality oddness that stretches from the merely quirky to the genuinely weird.  If we were to consider such a spectrum as a scale from one to ten, with one being “quirky” (or idiosyncratic); five being “eccentric” (or odd); and ten being really “weird” (or bizarre), then the personality of the composer and organist Anton Bruckner would lie at about an eleven: an off-the-charts “downright whacky” (and even, at times, unnervingly creepy). I know, I know: many of you are probably thinking something on the lines of “so what? He was a professional composer.  Show me a major composer besides, perhaps, Joseph Haydn and Antonin Dvořák who wasn't a […] The post Music History Monday: On the Spectrum first appeared on Robert Greenberg.

El 30 de abril de 1977, un grupo de mujeres se reunió en la Plaza de Mayo para reclamar por la aparición con vida de sus hijas e hijos secuestrados, torturados y desaparecidos, por la dictadura cívico militar que asaltó el poder el 24 de marzo de 1976. Hasta allí habían llegado debido a la falta de respuestas, a propuesta de Azucena Villaflor, una de las Madres, quien consideraba que si reclamaban juntas, serían recibidas por el presidente de facto, Jorge Rafael Videla. Junto a ella estuvieron Berta Braverman, Haydée García Buelas, María Adela Gard de Antokoletz, Julia Gard, María Mercedes Gard, Cándida Gard, Delicia González, Pepa Noia, Mirta Baravalle, Kety Neuhaus, Raquel Arcushin y dos mujeres más de las que no se conocen sus nombres. La orden de un oficial de la Policía Federal fue que circulen porque no podían quedarse allí reunidas  manifestándose. Entonces, tomadas de los brazos, comenzaron a dar vueltas alrededor de la Pirámide de Mayo, originando así la primera de muchas rondas que se sucederían, jueves a jueves, a lo largo de todos estos años de lucha. Más de cuatro décadas después, las Madres de Plaza de Mayo constituyen un símbolo de resistencia a la última dictadura cívico militar y son referentes en todo el mundo de la lucha por los derechos humanos. Recordamos esta fecha a partir de testimonios conservados en el Archivo Histórico de Radio Nacional. FICHA TÉCNICA Testimonios y música: `Songs my mother taught me´ (Antonin Dvořák) por Augustin Hadelich y Charles Owen 1984-02-03 Hebe de Bonafini (Presidenta de Madres de Plaza de Mayo) [Entrevista Magdalena Ruiz Guiñazu Radio Continental] 2005 Tati Almeyda (Madre de Plaza de Mayo) [Entrevista Diana Costanzo – Área de Contenidos de Radio Nacional] 2010-05-02 Nora Cortiñas (Madre de Plaza de Mayo) [Entrevista Eduardo Aliverti - Decime quien sos vos – Programa emitido por Radio Nacional] 1997-10-11 Hebe de Bonafini - 20 años de las Madres de Plaza de Mayo (Plaza de Mayo) `Madre escúchame´ (L Nebbia) por Litto Nebbia y La Orquesta Filarmónica de Kiev Edición:  Fabián Panizzi

This week on The Sound Kitchen you'll hear the answer to the question about Fespaco. There's a celebration of the Bengali New Year, as well as the “Listeners Corner” with Michael Fitzpatrick and “Music from Vincent” with Vincent Pora. All that, and the new quiz question, too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.The ePOP video competition is open! The deadline for entries is next Thursday, 20 April, so get your video in today!The ePOP video competition is sponsored by the RFI department “Planète Radio”, whose mission is to give a voice to the voiceless. ePOP focuses on the environment, and how climate change has affected “ordinary” people … you create a three-minute video about climate change, the environment, pollution – told by the people it affects. So put on your thinking caps and get to work ... and by the way, the prizes are incredibly generous!To read the ePOP entry guidelines – as well as watch videos from previous years – go to the ePOP website.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service.  Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 11 March, I asked you a question about the Pan African Film and Television Festival of Ouagadougou, known by its French acronym Fespaco. We'd just published an article: “Tunisian thriller ‘Ashkal' snags top gong at Africa's Fespaco film fest”, and I asked you to write in with the answer to these two questions: who won the second prize – called the Silver Stallion - and who won the third prize?The answer is, to quote our article: “Burkinabé director Apolline Traore picked up the Silver Stallion award for her film “Sira”, the story of a woman's struggle for survival after she is kidnapped by jihadis in the Sahel.Third place went to Kenya's Angela Wamai for “Shimoni”, about a man at odds with his environment and at war with his inner demons.”In addition to the quiz question, there was the bonus question, suggested by Mahesh Jain from Delhi, India: “What is, for you, the best part of your country's constitution?”  Do you have a bonus question idea? Send it to us!  The winners are: RFI English listener Mizanur Rahman, from Dhaka, Bangladesh. Mizanur is also the winner of this week's bonus question. Congratulations, Mizanur!Also on the list of lucky winners this week is Fatematuj Zahra, who is the co-secretary of the Shetu RFI Listeners Club in Naogaon, Bangladesh. There are RFI Listeners Club members Zenon Teles from the Christian – Marxist – Leninist - Maoist Association of Listening DX-ers in Goa, India, and Atikul Islam from Kishoreganj, Bangladesh. Last but not least, RFI English listener Lovely Sultana Razia from Naogaon, Bangladesh.Congratulations winners!Here's the music you heard on this week's programme: “En Route to Bengal”, a medley of traditional Bengali folk songs performed by the Hamelin Instrumental Band; “Baje re baje dhol ar dhak” by Shaukat Ali Imon and Kabir Bakul, sung by Sonia; the “Allegretto Scherzando” from Antonin Dvořák's Slavonic Dances Op.46, performed by the Symphonieorchester des Bayerischen Rundfunks, conducted by Rafael Kubelik; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Time” by Finn Andrews, performed by The Veils.Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read Jan van der Made's article “Macron lays out his plan for Europe on a visit to the Netherlands” to help you with the answer.You have until 22 May to enter this week's quiz; the winners will be announced on the 27 May podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

Synopsis On today's date in 1893, Anton Seidl conducted the New York Philharmonic in the first performance of Antonin Dvořák's Symphony No. 9, a work subtitled From the New World. This was an afternoon concert, meant as a public dress rehearsal for the work's "official" premiere the following evening. Among the Dec. 15th audience was Dvořák's eight-year old son, Otakar, who had a special interest in the success of his father's new symphony. In the preceding weeks, Otakar had accompanied his father to a New York café, where Dvořák met Anton Seidl to go over the new score. Young Otakar amused himself at a nearby toyshop, where a seven-foot long model of the ocean liner Majestic was on display, complete with its own miniature steam-chamber and working propellers. It cost a whopping $45—a HUGE amount of money in those days, and the answer from papa was always: NO! Seeing that the boy's heart was set on having the toy, Anton Seidl suggested to Otakar that he wait until after the premiere and then ask his father again. Seidl told Otakar that if all went well at the premiere, Dvořák would be in a generous mood. The premiere was a great success, and, as Otakar recalled: "When Seidl offered to pay half the cost of the Majestic, Father could not say no. So that is how the three of us celebrated the success of the first performance of the New World Symphony." Music Played in Today's Program Antonin Dvořák (1841-1904) Symphony No. 9 (From the New World) New York Philharmonic; Kurt Masur, cond. Teldec 73244

We jump into the New Year with an all-American program, featuring Adolphus Hailstork's Three Spirituals for Orchestra and Samuel Barber's Knoxville: Summer of 1915 (featuring soprano Janinah Burnett). Finishing off the program is Antonin Dvořák's "New World" Symphony, which was written while Dvořák was living and working in the United States. Multiple Grammy winner and guest conductor JoAnn Falletta (pictured) joins us for a lively discussion of these works, her personal friendship with "Dolph" Hailstork, and her remarkable career and musical journey. Oh, and there's even a classical guitar quiz (before she was a world famous conductor, JoAnn Falletta was a guitarist). Photo: Cheryl Gorski

Star violinist Rachel Barton Pine joins Haley Taylor for a conversation about her Music by Black Composers project, and her new album from Avie Records, which contains the folk music-infused violin concertos of Antonin Dvořák and Aram Khachaturian.

The young American soprano Elyse Anne Kakacek joins us to discuss her new album Formless: The Biblical Songs of Antonin Dvořák. Inspirational in both interpretation and content, Formless offers a peaceful meditation on spirituality – and a salve for the soul in troubled times such as these. Dvořák's Biblical Songs are simple yet powerful settings of ten famous Psalms (in the composer's own English translation), written while he was living in New York (not far from where Elyse herself lives now). As Elyse tells us in this conversation, Dvořák's music not only resonates with her own Czech heritage, but has deeply personal connections as well. https://www.elysekakacek.com

En el programa de hoy continuamos con una de las series que no tenemos prisa por terminar. Hace algunas semanas, descubrimos los cuartetos de cuerda de Mendelssohn y Schumann, que representaban los esfuerzos de la primera generación romántica por igualar los logros de Beethoven en este género. Este episodio, cuyo verdadero título revelamos durante los primeros minutos, se centrará en los cuartetos de Johannes Brahms, el último representante de la tradición romántica alemana, y en los de Antonin Dvořák, cuyos cuartetos de cuerda reflejan a la perfección el nacionalismo llevado a la música. Estos dos autores, tan geniales como diferentes entre ellos, son ejemplos claros de la ramificación que, a partir de la década de 1870, sufre el cuarteto de cuerda, que renacerá de manera espectacular en el siglo XX. Pero eso ya lo veremos en futuros episodios, que como este permitirán aprender ¡CONOCIMIENTOS MUSICALES!

Christine Lemke-Matwey, Andreas Göbel und Kai Luehrs-Kaiser hören Aufnahmen, ohne zu wissen, wen sie hören. Das müssen die drei selbst herausfinden. Oder auch nicht. Moderiert von Christian Detig.

Eine der persönlichsten Folgen in unserer Reihe. In der es um einen großen Abschied geht, der immer noch schmerzt. Aber trotz allem nicht so beängstigend war, wie zuvor gedacht. Von Devid Striesow und Axel Ranischwww.deutschlandfunkkultur.de, EchtzeitDirekter Link zur Audiodatei

Eine der persönlichsten Folgen in unserer Reihe. In der es um einen großen Abschied geht, der immer noch schmerzt. Aber trotz allem nicht so beängstigend war, wie zuvor gedacht. Von Devid Striesow und Axel Ranischwww.deutschlandfunkkultur.de, EchtzeitDirekter Link zur Audiodatei

Eine der persönlichsten Folgen in unserer Reihe. In der es um einen großen Abschied geht, der immer noch schmerzt. Aber trotz allem nicht so beängstigend war, wie zuvor gedacht. Von Devid Striesow und Axel Ranischwww.deutschlandfunkkultur.de, EchtzeitDirekter Link zur Audiodatei

We jump into the New Year with an all-American program, featuring Adolphus Hailstork's Three Spirituals for Orchestra and Samuel Barber's Knoxville: Summer of 1915 (featuring soprano Janinah Burnett). Finishing off the program is Antonin Dvořák's "New World" Symphony, which was written while Dvořák was living and working in the United States. Multiple Grammy winner and guest conductor JoAnn Falletta (pictured) joins us for a lively discussion of these works, her personal friendship with "Dolph" Hailstork, and her remarkable career and musical journey. Oh, and there's even a classical guitar quiz (before she was a world famous conductor, JoAnn Falletta was a guitarist). Photo: Cheryl Gorski

We jump into the New Year with an all-American program, featuring Adolphus Hailstork's Three Spirituals for Orchestra and Samuel Barber's Knoxville: Summer of 1915 (featuring soprano Janinah Burnett). Finishing off the program is Antonin Dvořák's "New World" Symphony, which was written while Dvořák was living and working in the United States. Multiple Grammy winner and guest conductor JoAnn Falletta (pictured) joins us for a lively discussion of these works, her personal friendship with "Dolph" Hailstork, and her remarkable career and musical journey. Oh, and there's even a classical guitar quiz (before she was a world famous conductor, JoAnn Falletta was a guitarist).  Photo: Cheryl Gorski

On this new episode of Speaking of the Arts…, Music Director Charles Evans continues the in-depth conversations with musicians of the Long Bay Youth Symphony String Quartet: violist Grace Leonard, and violinists Gabbi Smith and Isabella Yee. They share thoughts on being in a youth musician program and the work and preparation involved, specifically highlighting their end of year performance of Antonin Dvořák's American Quartet. Beautifully concluding this episode, you will hear the final two movements of that performance.

Synopsis There's a long list of composers ranging from Vivaldi to Messiaen who have incorporated bird song into their musical works.  Today we make note of one of them. On this date in 1893 the great Czech composer Antonin Dvořák was vacationing with his family in Spillville, Iowa, spending the hot summer months with a small Czech community who had settled along the banks of the Turkey River.  Dvořák liked to walk along the river listening to the birds, who, he said, helped him come up with musical ideas — ideas he would scribble in pencil on his stiff white shirt cuffs.  Dvořák's son, Otakar, eight years old at the time, reports that on June 12, 1893, a fishing trip along the Turkey River was cut short, much to his annoyance.  When Otakar asked why, Dvořák said simply: “My cuff is already full of notes — I've got to get home and copy them down.” In less than a week Dvořák finished what would become one of his best-known and best-loved works — a string quartet in F Major nick-named the “American” Quartet.  The quartet's Scherzo movement even includes a musical quotation from a particularly persistent American bird whose song Dvořák found a bit distracting. Music Played in Today's Program Antonin Dvořák (1841-1904) — String Quartet, Op. 96 (American) (Vlach Quartet) Naxos 8.553371

Synopsis There's a long list of composers ranging from Vivaldi to Messiaen who have incorporated bird song into their musical works.  Today we make note of one of them. On this date in 1893 the great Czech composer Antonin Dvořák was vacationing with his family in Spillville, Iowa, spending the hot summer months with a small Czech community who had settled along the banks of the Turkey River.  Dvořák liked to walk along the river listening to the birds, who, he said, helped him come up with musical ideas — ideas he would scribble in pencil on his stiff white shirt cuffs.  Dvořák's son, Otakar, eight years old at the time, reports that on June 12, 1893, a fishing trip along the Turkey River was cut short, much to his annoyance.  When Otakar asked why, Dvořák said simply: “My cuff is already full of notes — I've got to get home and copy them down.” In less than a week Dvořák finished what would become one of his best-known and best-loved works — a string quartet in F Major nick-named the “American” Quartet.  The quartet's Scherzo movement even includes a musical quotation from a particularly persistent American bird whose song Dvořák found a bit distracting. Music Played in Today's Program Antonin Dvořák (1841-1904) — String Quartet, Op. 96 (American) (Vlach Quartet) Naxos 8.553371

Kalm met Klassiek is jouw dagelijkse dosis klassieke ontspanning. We zitten in de week van oorlogsherinneringen en bevrijdingsverhalen, een week vol herdenkingen en bezinning. Er is binnen dit thema een werk dat Ab je heel graag wilt laten horen: de ‘Symfonie nr. 9' van Antonin Dvořák, met als bijnaam ‘Uit de nieuwe wereld'. Je treedt een nieuwe wereld binnen. Wat zou je als eerste doen? Wat zou je achterlaten, wat zou je meenemen? Misschien ga je wel op avontuur, de wereld ontdekken. Of maak je eerst een eigen plekje, als veilige haven. Denk erover na, ga er lekker voor zitten en droom weg bij de muziek.

El 30 de abril de 1977, un grupo de mujeres se reunió en la Plaza de Mayo para reclamar por la aparición con vida de sus hijas e hijos secuestrados, torturados y desaparecidos, por la dictadura cívico militar. Foto del archivo Hasenberg-Quaretti Hasta allí habían llegado debido a la falta de respuestas, a propuesta de Azucena Villaflor, una de las madres, quien consideraba que si reclamaban juntas, serían recibidas por el presidente de facto, Jorge Videla. Junto a ella estuvieron Berta Braverman, Haydée García Buelas, María Adela Gard de Antokoletz, Julia Gard, María Mercedes Gard, Cándida Gard, Delicia González, Pepa Noia, Mirta Baravalle, Kety Neuhaus, Raquel Arcushin y dos mujeres más de las que no se conocen sus nombres. La orden de un oficial de la Policía Federal fue que circulen porque no podían quedarse allí reunidas manifestándose. Entonces, tomadas de los brazos, comenzaron a dar vueltas alrededor de la Pirámide de Mayo, originando así la primera de muchas rondas que se sucederían, jueves a jueves, a lo largo de todos estos años de lucha. Más de cuatro décadas después, las Madres de Plaza de Mayo constituyen un símbolo de resistencia a la última dictadura cívico militar y son referentes en todo el mundo de la lucha por los derechos humanos. Recordamos esta fecha a partir de testimonios conservados en el Archivo Histórico de Radio Nacional. FICHA TÉCNICA Testimonios y música: `Songs my mother taught me´ (Antonin Dvořák) por Augustin Hadelich y Charles Owen 1984-02-03 Hebe de Bonafini (Presidenta de Madres de Plaza de Mayo) [Entrevista Magdalena Ruiz Guiñazu Radio Continental] 2005 Tati Almeyda (Madre de Plaza de Mayo) [Entrevista Diana Costanzo – Área de Contenidos de Radio Nacional] 2010-05-02 Nora Cortiñas (Madre de Plaza de Mayo) [Entrevista Eduardo Aliverti - Decime quien sos vos – Programa emitido por Radio Nacional] 1997-10-11 Hebe de Bonafini - 20 años de las Madres de Plaza de Mayo (Plaza de Mayo) `Madre escúchame´ (L Nebbia) por Litto Nebbia y La Orquesta Filarmónica de Kiev Edición: Fabián Panizzi

durée : 00:30:17 - Cordes sensibles du dimanche 21 février 2021 - Josef Suk (1929-2011) a grandi à Prague dans une illustre famille tchèque : il est le petit-fils du compositeur Josef Suk et l’arrière petit-fils d’Antonin Dvořák. Nous l’écoutons dans des oeuvres de Smetana, Janáček, Dvořák et Suk, avec les pianistes Jan Panenka et Josef Hala.

The young American soprano Elyse Anne Kakacek joins us to discuss her new album Formless: The Biblical Songs of Antonin Dvořák. Inspirational in both interpretation and content, Formless offers a peaceful meditation on spirituality – and a salve for the soul in troubled times such as these. Dvořák's Biblical Songs are simple yet powerful settings of ten famous Psalms (in the composer's own English translation), written while he was living in New York (not far from where Elyse herself lives now). As Elyse tells us in this conversation, Dvořák's music not only resonates with her own Czech heritage, but has deeply personal connections as well. https://www.elysekakacek.com

The young American soprano Elyse Anne Kakacek joins us to discuss her new album Formless: The Biblical Songs of Antonin Dvořák. Inspirational in both interpretation and content, Formless offers a peaceful meditation on spirituality – and a salve for the soul in troubled times such as these. Dvořák's Biblical Songs are simple yet powerful settings of ten famous Psalms (in the composer's own English translation), written while he was living in New York (not far from where Elyse herself lives now). As Elyse tells us in this conversation, Dvořák's music not only resonates with her own Czech heritage, but has deeply personal connections as well. https://www.elysekakacek.com

In the 4th episode of RPO Extra, Valentina Peleggi talks to John Griff about how she began her career as a conductor. We shine a light on the life and times of composer o Antonin Dvořák. Plus, RPO second violinist Sali-Wyn Ryan speaks about the community and education work of RPO Resound.

Star violinist Rachel Barton Pine joins Haley Taylor for a conversation about her Music by Black Composers project, and her new album from Avie Records, which contains the folk music-infused violin concertos of Antonin Dvořák and Aram Khachaturian.

Star violinist Rachel Barton Pine joins Haley Taylor for a conversation about her Music by Black Composers project, and her new album from Avie Records, which contains the folk music-infused violin concertos of Antonin Dvořák and Aram Khachaturian.

Lincoln’s Symphony Orchestra returns to the Lied Center for Performing Arts for their Classical series performance, Dvořák & Brahms on March 8, 2019 at 7:30 p.m. Led by Music Director Edward Polochick, the program will open with Antonin Dvořák’s Violin Concerto in A Minor, performed by soloist Bomsori Kim.

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle's work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen's Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak's New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Episode 42 with Mark Siano!We talk about his new show, Bohemia, which runs September 10th-27th at Café Nordo. This absinthe-infused show was co-written with Opal Peachy and centers on famous composers Antonin Dvořák and Frédéric Chopin, with appearances by Sarah Bernhardt and Alphonse Mucha. Cast:Isabella Bloom - ZuzannaTanya Brno - CamilleJen Flood - FayeHisam Goueli - Alphonse MuchaCherry Manhattan - Sarah BernhardtOpal Peachey - Frédéric ChopinKatheryn Reed - RusalkaMark Siano - Antonin Dvořák>>More info, tickets and pictures of green fairies.

Works for voice and piano performed by Jennifer Johnson Cano, mezzo-soprano, and Christopher Cano, pianist and string quintet performed by Borromeo String Quartet with Nathaniel Martin, bass.Dvořák: Gypsy Songs, Op. 55Dvořák: String Quintet No. 2 in G Major, Op. 77For our 185th podcast program, we’ll hear from Antonin Dvořák, focusing on two of his chamber works.We begin with Dvořák’s Gypsy Songs, opus 55. The cycle of seven songs is based on Czech poetry by Adolf Heyduk about the lives of Slovakian gypsies. But Dvořák chose to premiere and publish the songs in a German translation of the original text. The cycle was fairly successful; in particular, the song at the heart of the cycle—the fourth of seven—has become one of his best-known, usually translated in English as “Songs My Mother Taught Me.” Throughout, the songs are both lyrical and spirited, combining the flavor of gypsy music with the sophistication of Western art song.After the songs, we’ll turn to Dvořák’s second string quintet, opus 77. Written in 1874, the string quintet is among Dvořák’s earliest mature works. At the time of its composition, he had been working in relative anonymity in Prague. The music itself, though, reveals a composer already in possession of a unique and self-assured voice, with a gift for melody and a wonderful knack for writing spirited, dance-infused passages.

Works for voice and piano and string quartet by New York Festival of Song: James Martin, baritone and Michael Barrett, piano, sopranos Dina Kuznetsova and Julia Bullock, and Michael Barrett, piano; and Borromeo String Quartet:Dvořák: Bože! Bože! Píseň novou, from Biblical Songs No. 5, Při řekách babylonských, from Biblical Songs, No. 7, Zpívejte Hospodinu píseň novou, from Biblical Songs, No. 10Dvořák: A já ti uplynu, from Moravian Duets, Op. 32, No. 1Dvořák: String Quartet no. 14 in A-flat Major, Op. 105We’ve heard fairly regularly from Antonin Dvořák on the podcast, but today’s program offers a unique opportunity to hear works from both the beginning and the end of his fruitful career as a composer.First, there will be excerpts featuring the baritone James Martin, all taken from Dvořák’s Biblical Songs. These were the composer’s final set of songs, though he would go on to write operas and choral music.Situated right in the middle of the program we have the first of Dvořák’s Moravian Duets for female voices. These duets, written fairly early in the composer’s career, were Dvořák’s entry ticket into European musical society. The duets became Dvořák’s first international publication and truly launched his career in Europe.The duet we’ll hear is sometimes translated as “The Fugitive.” It is a playful text, telling the tale of two lovers engaged in a fanciful pursuit in which they transform from fish to doves to stars, chasing each other through the sea, sky, and heavens. We’ll hear the duet performed by sopranos Dina Kuznetsova and Julia Bullock, who appeared at the museum with the New York Festival of Song.Then we have Dvořák’s last string quartet, number 14 in A-flat Major, and by broad consensus one of his greatest. In this work, Dvořák was able to bring together his flair for lively, Bohemian dance music, which animates the quartet’s second movement, with his sophisticated craftsmanship and gift for melody. We’ll hear the piece as performed at the museum by the Borromeo String Quartet back in 2006.

For the first time in more than a century, Antonin Dvořák's original manuscript for Symphony No. 9, "From the New World," returned to the United States for a special one-day display at the Library of Congress. Dvořák scholar Michael Beckerman speaks on the role of African-American sources in the composer's conception of an American music. Eva Velická joins him for a discussion on "Manuscripts as Storytellers." Michael Beckerman is Carroll and Milton Petrie Professor of Music at New York University. Eva Velická is director of the the Dvorak Museum in Prague. For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5341.

Dvořák: Terzetto in C Major, Op. 74 Dvořák: Serenade for Winds and Strings in D minor, Op. 44Today, we will hear two pieces by the Czech composer Antonin Dvořák, beginning with his Terzetto for two violins and viola from 1887. Besieged with commissions after several very successful trips to England, Dvořák wrote this piece in just one week! Unapologetically melodic, the Terzetto’s themes dovetail and layer between the instruments, always containing a hint of wistfulness. The piece is far more rich, dramatic, and complex than either its title or its simple instrumentation would indicate. One of Dvořák’s earlier works, his Serenade for Winds and Strings, was written over the course of two weeks in 1879, during another period of increased demand for his compositions. Scored for a large ensemble of winds, brass, cello and bass, it nonetheless maintains a simplicity of line and texture. The work’s solidity of sound and honesty of expression convey an integrity that is present in much of Dvořák’s music, especially fitting for a composer who always placed family, homeland, nature, and music above all else.

Dvořák: Sonatina for violin and piano in G Major, Op. 100 (arr. for viola)Dvořák: Piano Quartet in E-flat Major, Op. 87It’s odd, but true, that one of the best-known classical symphonies about America was actually written by a Czech composer. Antonin Dvořák’s “New World” symphony was written during a trip the composer took to the states in the 1890’s, and is just one of the pieces that established him as the most distinguished and well-known of Czech composers. During his time in America, Dvořák wrote other pieces as well, including the sonatina that comes first on today’s all-Dvořák program. Then, we’ll return to a Dvořák piece that’s a bit more Old World in style: his piano quartet in E-Flat Major. Written before his trip to America, this piece reflects Dvořák’s connection to European composers, particularly Brahms, who was a strong advocate for Dvorak in building his early career. The folksong-like melodies here are reminiscent not of America, but of Dvořák’s native Eastern Europe.