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Anton Dvorak Annotated Bibliography

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Anton Dvorak Annotated Bibliography
Matt Keller
02W
mkeller2@nwacc.edu
Antonin Dvorak

Duke, Weston. "Antonin Dvorak biography." 8notes.com. 8notes.com, 2011. Web. 25 Feb 2011. <http://www.8notes.com/biographies/dvorak.asp>.

Green, Aaron. "Antonin Dvorak." About.com. About.com, 2011. Web. 25 Feb 2011. <http://classicalmusic.about.com/od/classicalcomposers/p/dvorakprofile.htm>.

Gifford, Katya. "Antonin Dvorák - Biography." Humanities Web. Humanities Web, 2010. Web. 25 Feb 2011. <http://www.humanitiesweb.org/human.php?s=r&p=a&a=i&ID=745>.

Schwartz, Steve. "Antonin Dvorak." Classical Net. Classical Net, 2011. Web. 25 Feb 2011. <http://www.classical.net/music/comp.lst/dvorak.php>.

Antonin Dvorak

Antonin Dvorak was born in a …show more content…
Due to this, the Americans anticipated Dvorak to help “pave the way” for an “American” musical style. Taking this change to heart, this initiated Dvorak’s “American” phase, which created his Ninth Symphony "From the New World," the String Quartet #12, the cantata The American Flag, and the String Quintet in Eb. His first performance was the premiere of Te Deum, produced in Carnegie Hall. Homesickness in Dvorak’s soul, however, collided with financial advantage and high artistic purpose. Taking summer vacations to the Czech-speaking community of Spill Ville, Iowa, helped a little, but his desire to return to Prague grew. Wishing to return home, Dvorak wrote almost as many works celebrating his native country as those that hymned the New World: for example, the Te Deum and the cello concerto; one of the best for the instrument. In addition to, Dvorak became more and more interested in streamlining classical forms. He had entered a so-called second nationalist phase during the 1880’s, in which Czech folk elements are fully absorbed and put into use of Dvorak’s formal experiments. As stated on www.classical.net, “The image of Dvořák as some spontaneously musical "holy fool" doesn't hold up in the presence of scores full of formal sophistication. The cello concerto, for example, provides a heroic part for the cellist without burying him in the orchestral
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