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Autograph musical quotation signed ('Antonín Dvorák') from Dimitrij, Prague, 3 May 1883.
Details
DVORAK, Antonín (1841-1904)
Autograph musical quotation signed ('Antonín Dvorák') from Dimitrij, Prague, 3 May 1883.
142 x 216mm. Eight bars for voice and piano on a three-stave system, titled in autograph (‘Dimitrij / II. Scena II. Jednání’), and with the accompanying lyrics from the aria of Xenie Borisovna (‘Bat’uško muj ty nad uše drahý milovaný etc’) in Act II, Scene II. Provenance: Stargardt, 10⁄11 March 2020, lot 598.
A quotation from Dvorák’s historical grand opera Dimitrij. Written by a female librettist, Marie Cervinkova-Riegrova, Dimitrij was based on an episode of Russian history forming a sequel to that of Boris Godunov, immortalised in the opera by Mussorgsky. Originally intended to celebrate the planned opening of the Czech National Theatre in September 1881, the opera instead received its premiere a year later, on 8 October 1882, at the New Czech Theatre, after the former burnt to the ground. It was a great success for Dvorák in Prague and further bolstered his reputation as a composer abroad; he received multiple commissions to mark special occasions in the city.
Autograph musical quotation signed ('Antonín Dvorák') from Dimitrij, Prague, 3 May 1883.
142 x 216mm. Eight bars for voice and piano on a three-stave system, titled in autograph (‘Dimitrij / II. Scena II. Jednání’), and with the accompanying lyrics from the aria of Xenie Borisovna (‘Bat’uško muj ty nad uše drahý milovaný etc’) in Act II, Scene II. Provenance: Stargardt, 10⁄11 March 2020, lot 598.
A quotation from Dvorák’s historical grand opera Dimitrij. Written by a female librettist, Marie Cervinkova-Riegrova, Dimitrij was based on an episode of Russian history forming a sequel to that of Boris Godunov, immortalised in the opera by Mussorgsky. Originally intended to celebrate the planned opening of the Czech National Theatre in September 1881, the opera instead received its premiere a year later, on 8 October 1882, at the New Czech Theatre, after the former burnt to the ground. It was a great success for Dvorák in Prague and further bolstered his reputation as a composer abroad; he received multiple commissions to mark special occasions in the city.
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Eugenio Donadoni
Senior Specialist, Medieval & Renaissance Manuscripts