Dvořák: Suite in A major, Op. 98, B 184 (with Score)

Antonín Dvořák:
Suite in A major, Op. 98, B 184 (with Score)
Composed: 19 February - 1 March 1894
Piano: Inna Poroshina
00:00 1. Moderato (A major)
03:58 2. Molto vivace (C-sharp minor)
07:19 3. Allegretto (A major)
11:10 4. Andante (A minor)
14:04 5. Allegro (A minor - A major)
The Suite in A major was written at the beginning of 1894 as a five-movement piano piece which the composer arranged for orchestra a year later. As if feeling the need to remove himself from the hectic atmosphere of the recent premiere of the New World Symphony, he turned his attention to an intimate work of restraint and humility. Although the thematic material maintains a certain “American” tone, from a formal point of view, it is similar in type to the Serenade in E major, the Serenade in D minor or the Czech Suite. As in these previous works, this Suite demonstrates the composer’s extraordinary sense of small forms. Each of the five movements treats strong themes developed with an uncommon degree of imagery via all manner of compositional techniques. As with both Serenades, Dvořák again returns at the end of the last movement to the principal theme of the introductory movement in order to bring the work to a convincing close.
The work is a suite in the broadest sense: a sequence of five movements of differing expression, arranged according to the law of contrast. The first movement has a festive atmosphere and sets the mood as a kind of prelude to the entire cycle. The “American” tone of the work has already been established by the third bar in the use of marked syncopation. The second movement, prescribed “Molto vivace”, is an analogy of a sonata-form scherzo, with distinctive use of triplets in both the melodic line and the lower voices, introducing a high degree of mobility. The third movement is written as a rondo, whose principal theme is reminiscent of a polonaise or “sousedska”, a Czech folk dance. The fourth movement is a typical example of Dvořák's lyricism - here a kind of dream-like nocturne stemming from a single melodic idea which is subject to variation as the work progresses. The suite closes with a confident Allegro whose main theme in its basic form calls to mind the final movement of the New World Symphony. The piece ends with a memento of the first movement.
www.antonin-dvorak.cz/en/work...

[@evaelster]

Sooo beautiful 🤍 I can't even believe someone can play this on just one instrument. Thank you for this video!

[@Raikaska]

Another great work by Dvorak!

[@orfeomanfredi9299]

The first bars are very similar to Puccini's aria "Vissi d'arte" from Tosca, which was composed in 1896. Maybe Puccini was inspired by this melody?

[@ulrichalbrecht9723]

I think the first bars are very similar to Richard Wagners Feuerzauber from The dusk of God may be Dvorak got this from Wagner. kzbin.info/www/bejne/qXLYc5uNjNJ5iqM

[@davidyoung6331]

At 14:04 there is a forwards repeat sign start at the first full measure. But there is no backwards repeat that repeats to this point. What gives? Here's what happened. In the orchestra score, there is a forwards repeat at measure 1 and the backward repeat is at measure 10 (or 9, if you don't include the pickup measure). In this piano score, the repeat is "written out" and the backwards repeat eliminated. But someone forgot to remove the forwards repeat.

[@danielnieto8972]

The first chord reminds me of Rachmaninoff’s op 39 no 3

[@dankubus3657]

Oops.... Did the performer drop two beats in the 4th movement, m. 18, at 12:02 into the video?

[@pianoar3652]

yes, he did it!

[@slewch3106]

opps