Symphony No. 4 [!8] in G Major ... (Op. 88) ... Full Score ... Price Two Guineas ... Miniature Full Score, Price 10/- [Full Score]
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- SIGNED
- London ... New York: Novello and Company ... H.W. Gray Co. [PN 9231], 1897
London ... New York: Novello and Company ... H.W. Gray Co. [PN 9231], 1897. Large folio. Original publisher's black cloth bound boards, title gilt to spine. 1f. (recto title, verso blank), 178 pp.
Performance markings in red ink and gray pencil, including dynamics, instrument names, and time signatures.
Boards somewhat worn; endpapers foxed. Minor foxing to first and last leaves; occasional small stains, tears to blank margins, and repairs. First Edition, later printing. Dating based on Smith & Humphries p. 246, where it is stated that the name ofthe publisher revered toNovello and Company in 1898. Burghauser 163. Sonneck Orchestral Music p. 109.
"The influence of folk music is heard again clearly in the Eighth Symphony (1889, b163; published as no.4), with which Dvorák allegedly (≤ourek) hoped ‘to write something different from his other symphonies and shape the musical content of his ideas in a new manner’. The variety and diversity of those ideas is striking, and they are often expressed in a musical language peculiar to them (with imitations of natural sounds, pastoral subjects, signals, fanfares, the suggestion of a funeral march and the idiom of a chorale). Sonata form is loosely applied and gives way to a more rhapsodic unfolding of ideas, but musical coherence is maintained through related melodic motifs and above all by rhythmic structures. In both the enhancement of musical language and the relaxation of formal structure, the Eighth Symphony reflects for the first time in a large instrumental work the new poetic element in Dvorák’s music after the spring of 1889." Klaus Döge in Grove Music Online.
Performance markings in red ink and gray pencil, including dynamics, instrument names, and time signatures.
Boards somewhat worn; endpapers foxed. Minor foxing to first and last leaves; occasional small stains, tears to blank margins, and repairs. First Edition, later printing. Dating based on Smith & Humphries p. 246, where it is stated that the name ofthe publisher revered toNovello and Company in 1898. Burghauser 163. Sonneck Orchestral Music p. 109.
"The influence of folk music is heard again clearly in the Eighth Symphony (1889, b163; published as no.4), with which Dvorák allegedly (≤ourek) hoped ‘to write something different from his other symphonies and shape the musical content of his ideas in a new manner’. The variety and diversity of those ideas is striking, and they are often expressed in a musical language peculiar to them (with imitations of natural sounds, pastoral subjects, signals, fanfares, the suggestion of a funeral march and the idiom of a chorale). Sonata form is loosely applied and gives way to a more rhapsodic unfolding of ideas, but musical coherence is maintained through related melodic motifs and above all by rhythmic structures. In both the enhancement of musical language and the relaxation of formal structure, the Eighth Symphony reflects for the first time in a large instrumental work the new poetic element in Dvorák’s music after the spring of 1889." Klaus Döge in Grove Music Online.