Two popular pieces include the 1860 full orchestra revision of Serenade No. 1 in D Major, Op. 11; and Brahms s 1875 revision of Serenade No. 2 in A Major, Op. 16. Authoritative early editions. Instrumentation. "

Influenced in his early compositions by Wagner and Liszt, Antonin Dvo ak (1841 1904) redirected his musical focus in his mid-thirties. Following the course charted by Smetana, he turned his attention to the rich reservoir of Czech music, and at the same time, returning to classical models, simplified and clarified his work. It was during this period that the melodic and delightfully fresh Czech character of his musical creations began to bring him worldwide attention. Serenade No. 1, Op. 22, for string orchestra, and Serenade No. 2, Op. 44, for winds, horns, and low strings both composed in the late 1870s are two of Dvo ak's most popular and frequently performed works. These splendid pieces embody the qualities we have come to associate with the composer's most colorful and typical music elegance of form, a wonderful blend of folk and classical harmony, rhythmic sweep and variety, and the emotional spirit of his country's native music. Reproduced from early editions, this new volume of music by the Czech master will be a welcomed addition to the score library of all music lovers."

(Faber Piano Adventures ). In this inspiring collection, late-elementary to early-intermediate pianists will find appealing arrangements that advance skills while exploring masterworks of Western music. The famous orchestral, keyboard, and operatic repertoire here spans four periods of music history. In the Baroque & Classical section, discover the elegance of Bach, the beauty of Mozart and the passion of Beethoven. Through the pages of the Romantic & Impressionistic section, sample the lyricism of Chopin, the drama of Grieg, and the atmosphere of Debussy. May the melodies of these and many other composers open an enduring world of expression and sound.

"Brahms was a famously complex character: an irascible curmudgeon, and a famously learned composer who took tremendous pride in composing tuneful, expressive melodies of great popular appeal. This accounts at least in part for the enduring esteem that his symphonies enjoy among musicians, scholars, and the listening public alike. This duality between the learned and the popular sides of Brahms' musical personality has made his music as difficult to analyze and discuss as was his singularly complex and mysterious personal life. This book attempts to aid the general listener in bridging the gap between these two seemingly irreconcilable aspects of Brahms' character, aspects that are particularly in evidence, and balanced with particular poise, in his four symphonies. First, author David Hurwitz examines Brahms' place in the German symphonic tradition, his obsessive preoccupation with his place in the grand line of classical composers stretching back to Bach, and proceeding through Haydn, Mozart, Beethoven, and Schumann. Despite his ongoing struggle to master orchestral writing, Hurwitz argues that Brahms did achieve a unique symphonic style, one found nowhere else in his (or anyone else's) works in symphonic form. Finally, each symphony is described from two perspectives: in the most helpful musical context, and then also in movement by movement descriptions of Brahms' expressive argument. Finally, a list of recommended recordings concludes a discussion that shows today's music lovers that the riches contained in these perennially attractive works do not hide beneath the surface, but in fact lie liberally scattered in plain view, just waiting to be savored." --Back cover.