Dvořákian

Dvorakian English Etymology From en Dvořák ian. Adjective en Dvorakian. en 1977 w:Edward Greenfield; Robert Layton; w:Ivan March [Dvořák, Antonín (1841–1904)] Symphony No. 3in E flat major, Op. 10; Hussite overture,Op. 67. Ivan March The Penguin Stereo Record Guide Penguin Handbook 2nd Harmondsworth w:Penguin Books 1978 344 https://archive.org/details/penguinstereorec00gree/page/344/mode/1up 2 0 14 046 223 6 Even the unashamed crib from Lohengrin in the middle section (D flat major) of the slow movement has a Dvořákian freshness, particularly when, as here, Istvan Kertesz adopts a fastish speed – faster than the score would strictly allow – and deliberately lightents the texture. en 2007 John K. Novak Josef Suk’s Non-Obstinate Ostinato Movements: A Study of Harmony and Style Geoffrey Chew New Music in the “New” Europe 1918-1938: Ideology, Theory, and Practice la:Colloquia Musicologica Brunensia 38 Praha KLP – Koniasch Latin Press 188 https://books.google.com/books?id=Cqc2AQAAIAAJ&q=Dvo%C5%99%C3%A1kian 978-80-86791-47-0 It is within the incidental music for the play cs Radúz a Mahulena (Radúz and Mahulena, later arranged in a suite entitled cs Pohádka [Fairytale]) that Suk’s early Dvořákian period ends and a new, original voice begins. 5 February 2018 Alex Ross The Rediscovery of Florence Price https://web.archive.org/web/20180129141420/https://www.newyorker.com/magazine/2018/02/05/the-rediscovery-of-florence-price The Third Symphony is a bigger, brasher work: a brooding brass opening smacks of Richard Wagner, then begins shifting between Dvořákian hoedowns and hazy whole-tone harmonies. Noun en Dvorakian. en 1949 September William McNaught [Gramophone Notes] Rafael Kubelik and Dvořák’s Fourth Symphony w:The Musical Times XC 1279 London Novello and CompanyLimited, 160 Wardour Street, W.1 316 https://archive.org/details/musicaltimessing9019unse/page/316/mode/1up 1 0027-4666 1608351 Then put on Kubelik’s record, and see how often his reading differs by being considerably slower; and how often you accept his correction. I believe that a good many people, thorough Dvořákians at heart, will question Kubelik’s authority and reject his version of the parts, that is, where this question enters. en 1977 w:Edward Greenfield; Robert Layton; w:Ivan March [Dvořák, Antonín (1841–1904)] Symphonies Nos. 7in D minor, Op. 70; 8in G major, Op. 88; 9in E minor (From the New World), Op. 95. Ivan March The Penguin Stereo Record Guide Penguin Handbook 2nd Harmondsworth w:Penguin Books 1978 346 https://archive.org/details/penguinstereorec00gree/page/346/mode/1up 1–2 0 14 046 223 6 With such long sides (up to 38 minutes in Symphony No. 7) the sound is hardly refined, but these are rich, spontaneous-sounding performances which will give great pleasure both to newcomers, attracted by an amazing bargain, and to committed Dvořákians, who will relish Barbirolli’s unusual combination of expressiveness in detailed phrasing and strongly architectural control of longer spans. en 2007 Brian Locke Otakar Ostrčil’s cs Honzovo království and the “Fulfilment” of Czech Musical Modernism Geoffrey Chew New Music in the “New” Europe 1918-1938: Ideology, Theory, and Practice la:Colloquia Musicologica Brunensia 38 Praha KLP – Koniasch Latin Press 77 https://books.google.com/books?id=Cqc2AQAAIAAJ&q=Dvo%C5%99%C3%A1kians 978-80-86791-47-0 After Bedřich Smetana’s death, his self-proclaimed descendants notably the composers Zdeněk Fibich, Josef Bohuslav Foerster and Ostrčil saw themselves as modernist underdogs in an unfair struggle with the Dvořákians, and upheld Smetana as an increasingly anachronistic model of Czech modernism.