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.

A psychoanalytic biography which examines the lives of Charles Ives and his father, George. It shows how a knowledge of their relationship as father and son, teacher and pupil is central to understanding Ives' work. Charles' music is shown as an unconscious collaboration between father and son.

This volume contains the symphonies of Brahms, Bruckner, Dvorák and Mahler, covering the period from roughly 1860 to 1930. Other contemporaries are discussed including Goldmark, Zemlinsky and Berg.

This volume contains the symphonies of Brahms, Bruckner, Dvorák and Mahler, covering the period from roughly 1860 to 1930. Other contemporaries are discussed including Goldmark, Zemlinsky and Berg.

Prominent symphony conductor Maurice Peress describes his career conducting the premiers of such works as Leonard Bernstein's 'Mass' and Duke Ellington's 'Queenie Pie'. He traces the great impact of African American music on American music, beginning with the work of Antonin Dvořák.

Dvorák's Cello Concerto, composed during his second stay in America, is one of the most popular works in the orchestral repertoire. This guide explores Dvorák's reasons for composing a concerto for an instrument which he at one time considered unsuitable for solo work, its relationship to his American period compositions and how it forms something of a bridge with his operatic interests. A particular focus is the concerto's unique qualities: why it stands apart in terms of form, melodic character and texture from the rest of Dvorák's orchestral music. The role of the dedicatee of the work, Hanus Wihan, in its creation is also considered, as are performing traditions as they have developed in the twentieth century. In addition the guide explores the extraordinary emotional background to the work which links it intimately to the woman who was probably Dvorák's first love.

From Marilyn to Mussolini, people captivate people. A&E's Biography, best-selling autobiographies, and biographical novels testify to the popularity of the genre. But where does one begin? Collected here are descriptions and evaluations of over 10,000 biographical works, including books of fact and fiction, biographies for young readers, and documentaries and movies, all based on the lives of over 500 historical figures from scientists and writers, to political and military leaders, to artists and musicians. Each entry includes a brief profile, autobiographical and primary sources, and recommended works. Short reviews describe the pertinent biographical works and offer insight into the qualities and special features of each title, helping readers to find the best biographical material available on hundreds of fascinating individuals.

Devotional reading on how to live.

This book serves as an aid to anyone seeking to perform and gain a deeper understanding of this multi-layered opera, which so trenchantly asks what it means to be human, to love, and to be loved in return.

Antonin Dvorák made his famous trip to the United States one hundred years ago, but despite an enormous amount of attention from scholars and critics since that time, he remains an elusive figure. Comprising both interpretive essays and a selection of fascinating documents that bear on Dvorák's career and music, this volume addresses fundamental questions about the composer while presenting an argument for a radical reappraisal. The essays, which make up the first part of the book, begin with Leon Botstein's inquiry into the reception of Dvorák's work in German-speaking Europe, in England, and in America. Commenting on the relationship between Dvorák and Brahms, David Beveridge offers the first detailed portrait of perhaps the most interesting artistic friendship of the era. Joseph Horowitz explores the context in which the "New World" Symphony was premiered a century ago, offering an absorbing account of New York musical life at that time. In discussing Dvorák as a composer of operas, Jan Smaczny provides an unexpected slant on the widely held view of him as a "nationalist" composer. Michael Beckerman further investigates this view of Dvorák by raising the question of the role nationalism played in music of the nineteenth century. The second part of this volume presents Dvorák's correspondence and reminiscences as well as unpublished reviews and criticism from the Czech press. It includes a series of documents from the composer's American years, a translation of the review of Rusalka's premiere with the photographs that accompanied the article, and Janácek's analyses of the symphonic poems. Many of these documents are published in English for the first time.