Czech Romantic Music For The Harp

Antonín Dvořák Slavonic Dance No. 2 Op. 72 Transcription for the harp by Barbora Plachá

Czech Romantic Music For The Harp

Antonín Dvořák Slavonic Dance No. 2 Op. 72 Transcription for the harp by Barbora Plachá Slavonic Dance No. 2 Op. 72 n ÒÒ Òn Òn Antonín Dvořák transcription for the harp by Barbora Plachá Allegretto grazioso 1 . . . . ™ 1 ™ . . . . . œ œ œ#œœ. œ n œ œœ œ œ ™ ≈ œ # 3 œ œ œ œ œ #œ œ œ œ œ œœ #œ œœ œ œœnœœ#œœ & 8 ≈ J œ Jœ molto espressivo 4 p fz C# p __ F§ # + + A§ . œ. A# 1 + . . . œ . . . . 2 . œ œ œ. #œ œ . œ. œ. œ œ #œ. #œ œ. œ ?# 3 œ R ≈ œ. œ R ≈ œ. R ≈ œ R ≈ R ≈ { 8 . . . . 3 1 œ stacc. sempre œ l.h. simile œ œ #œ 4. 4 4. . 1 1 > 1 j j ≈ r 2 > 3 # œ™ œ œ œ . . . . . ™ œ #œ œ #œ œ œ ≈ ≈ œ œ œ #œ œ nœœ #œ & 2 œ œ œ J J . . fz fz p C§ pp D§ + C# + + A§ . A# . A§ . œ. . œ #œ. . œ. œ . œ ?# . œ. œ R œ œ . œ. œ. œ. œ R œ. { œ. œ ≈ œ R ≈ œ. œ œ R ≈ œ. R ≈ ≈ . . œ . œ. 3 3 œ. œ. # ™ j ™ nœ œ™ ≈ œ j j ™ ™ & œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ™ # œ . . . #œ. . œ œ #œ œ D§ C§ . . . D . . œ # f dim. mp p A# A# A pp § ...... œ. œ. nœ. œ œ. œ. œ œ. œ. . œ. œ. . œ. ≈ ™ {?# œ. ≈ . . R ≈ . œ. R ≈ œ œ œ œ ≈ . œ ≈ œ R œ œ œ œ œ œ œ #œ. œ + œ . R . œ #œ + 4 . œ 2 . 4 J4 ™ ...... # ™ œ nœ œ #œ. œ nœ j #œ #œ œ #œ. œ #œ j #nœœ œ œœnœœ#œœ & ≈ œ œ œ œ œ œ nœ ≈ œ œ œ œ œ # œ œ ≈ ffz ff D# G F A C# E # § f § ffz E# A# § G _ F# . . F# . . § œ. F§ # ™ #œ . œ. œ ##œ . #œ. #œ #œ {?# œ ≈ œ. r nœ œ. #œ ≈ œ r œ œ. œ ≈ œ. #œ R œ œ œ . R . #œ #œ R œ . . . #œ œ œ . . . #œ œ. . . œ #œ. . 1 2 . ∏ 1 pp . . ∏ .

œ œ ∏ œ nœ ™ ™ . ∏ œ œ 2 œ . œ . œ . œ ∏ œ # œ œ #œ™4 œ œ œ™ œ œ œ œ & J ≈ œ œ ≈ ≈ ≈ œ. R ≈ 3 C# C§ dim. D§ mf dim. A A A§ . . § # ∏ j œ . . ∏ . œ . œ . . . ∏ œ #œ r . . . œ œ œ# œ œ ∏ œ ?# . œ œ œ œ r œ œ œ œ œ ∏ œ . . œ . . œ œ œ œ œ ∏ œ { #œ ≈ œ . œ ∏ œ œ œ . R œ . œ œ œ œ. œ. œ. .

. . ∏ ∏ ∏

œ œ . . ∏ . ∏ . ∏ . œ œ œ œ . ∏ œ ∏ œ . ∏ #œ . . . . ∏ ∏ ∏ œ œ . . . œ œ ∏ œ œ œ . œ ∏ # œ œ #œ. œ œ œ. œ œ. œ œ. œ œ . œ œ œ. œ œ ™ & ≈ ≈ ≈ R ≈ ≈ ≈ ≈ R ≈ ≈ œ#œ ≈ œ. œ œ. R ≈ D# C§ dim. p A pp rit. A# 1 1 § ∏ ™ . . . . . ∏ ∏

∏ j ∏

∏ nœ j j ∏ ™ ™

∏ œ

≈ œ ∏ œ ™ ∏ œ œ œ œ œ œ œ ?# œ œ œ œ œ œ œ œœœ ∏ œ œ œ œ { #œ œ œ œ œ ∏ œ #œ œ #œ Jœ J œ J J ‰ œ ‰ All rights reserved. Copyright © 2020 Arpeggio J Any unauthorized reproduction is prohibited by law. 1 2 2 2 1 a tempo 3 3 m . ™ 2 œm . œ. . #œ . œ . 3 # #œ œ œ œ œ œ # œ œ œ #œ œ & ≈ ≈ œœ œœ œœ #œ œ p J C# mf G# #œ œ œ œ œ œ#œ œ œ œ 3 3 3 3 3 3 œ œ #œ œ œ œ ≈ ≈ ≈ ≈ ≈ ≈ ?# #œ œ R œ R ? œ œ œ œ œ œ #œ œ œ œ œ œ { œ ≈ ≈ œ #œ #œ œ œ & œ

m . . . mœ . œ. . ™ # #œ œ œ œ œ nœ œ œ œ #œ œ™ & ≈ ≈ œœ œœ œœ œœ#œ nœ œ __ œ pp C D# G D§ mf C§ # p # § F§ G§ F# # r r ? ≈ œœ œœ œœ ≈ œ œ œ { œ œ ≈ œ œ œ œ œ ≈ #œ #œ œ & #œ œ œ œ œ œ œ œ nœ œ nœ nœ œ œ#œ œ

1 3 2 4 #œ œ m œ œ m œ#œ œ œ œ œ œ œ œ œ œ œ # œ#œ œ œ œ œ #œ R & œ#œ œ R ≈ #œ œ œ ÔR R ≈ ≈ œ ≈ œ ≈ œ ≈ ≈ D# D§ p ™ mf ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ G ∏ #œ

# ∏ ∏ œ ™ ∏ ∏ ∏ œ œ ∏ - #œ ∏ ∏ ∏ ∏ ∏ ∏ ™

œ ∏ œ œ ∏ ∏ ∏

œ r œ ∏ œ œ

? ? ∏

#œ r ∏ #œ ∏

?# œ œ ∏ ∏ { œ & œ ≈ ∏ & œ #œ œ ≈ #œ #œ œ œ #œ œ œ œ J œ. . œ. Jœ œ. . œ. . œ œ œ œ # m œ#œ œ œ œ œ m nœ œ œ œ œ œ œ œ œ nœ & œ#œ œ R ≈ nœ œnœ ÔR R ≈ ≈ œ ≈ œ ≈ œ ≈ œ ≈ ≈ dim. C§ C# D __ D pp # G# § F§ G§ F# œ #œ § - ∏ # œ œ œ ∏ œ #œœ œ œ r #œ r ? ∏ œ r ? #œ nœ ?# ∏ nœ œ { œ & œ ≈ ∏ & œ œ œ ≈ œ œ ≈ J #œ œ œ œ nœ . œ œ . . . J . . œ.

™ nœ ™ ™ œ œ # œ œ™ œ œ œ œ œ œ™ œ œ œ™ œ œ œ œ œ & œ nœ nœ œ œ œ œ nœœ œ nœ œ œ œ nœ œ #œœ œ œ œ D§ C§ > p fz p f F§ A§ F# F§ nœ œ œ nœ œ œ œ œ œ ™ œ œ œ nœ œ œ #œ œ œ œ {?# œ œ œ œ nœ œ œ nœ œ œ œ œ œœ œ œ œ ™ œ œ J nœ œ J

™ nœ ™ ™ œ œ 3 œ™ œ œ œ œ œ™ œ œ™ œ œ œ œ œ # . œ œ nœ œ™ œ œ œ nœœ œ™ nœ œ œ œ nœ œ™ # œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œœ œ nœœ œ p fz p ™ p fz f F§ œ œ F# ?# œ j ? nœ œ œ ™ j nœ œ { ® œ & œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ nœ œ œ nœ œ œ #œœ œ œ œ œ œ œ œ… œ œ œ Copyright © 2020 Arpeggio 1 1 > 3 nœ œ œ. j # nœ œ ™ > #œ œ œ œ œ œ œ œ œ œ œ œ œ ® œ œ œ œ œ œ™#œ œ œ œ nœ œ #œ nœ œ nœ œ œ œ & R œ œ œ œ œ #œ œ œ 1 1 3 Ô œ ___ J œ œ D# § 3œ 2 œ œ p D# f p œ F# D§ fz ff 3 œ œ œ œn#œ œ œ œ œ j œ # K ? j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { œ ® r j œ J J œ œ œ & œ nœ œ œ œ œ 4 œ œ œ œ œ œ œ œ. œ. . 1 1 . . . œ 3 œ œ. nœ œ . > j . . . . . œ œ. # ™ œ œ œ œ nœ œ & œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ #œ nœ œ nœ œ œ œ pp fz ___ œ œ f D# fz ff J p F§ ™ § D# D§ œ œ œ j œ œ œ œ œ {?# œ œ œ œ œ œ nœ œ j œ nœ œ œ œ œ œ J œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ . œ. . . . . œ œ. œ œ œ. œ œ. . nœ œ. . œ œ j Ÿ~~~~~~~~~~ . . . . œ œ . œ œ œ # œ œ œ œ. . œ. œ œ. . nœ. œ. œ œ œ œ œnœ œ & œ œ ≈ J œ dim. F§ J p pp F# fz f ^ ∏ ™ ™ œ nœ ∏ œ nœ œ nœ . œ ∏ œ ™ ™ œ œ œ œ œ œ œ œ ∏ œ™ œ œ œ œ œ œ œ œ œ œ ∏ ™ œ œ ™ œ ?# nœ œ ∏ œœ œ nœ œ œ nœ œ #œ œ œ œ œ œ œ { ∏ œ œ œ œ œ œ ® œ œ 3

1 1 . ™ . . . . . œ. œ œ. # œ. œ. œ œœ œ ™ œ™ j # œ œ œ œœ œ n#œ œ œ œ œ œ œœ™ ≈ œœœ œœ nœœ #œœ œ™ œ & ≈ œ œ œ #œ œ œ œ molto espress. J J fz D# fz C# p ___ p F§ # A§ F# A# A . œ. œ. œ. § #œ. œ œ. . . œ. A# œ. œ. . œ. . œ. œ œ. œ œ. œ #œ. #œ œ. . œ. œ {?# œ. R ≈ œ œ. R ≈ . R ≈ . R ≈ . ≈ . œ R ≈ œ œ #œ œ œ. œ. .

1 1 ™ r . . # œ œ œ œ œ œ. œ. œ. œ. œ. œj œ œ œ ≈™ œ ≈ ‰ #œ œ #œ ≈ ≈ œ œ œ #œ œ œ #œ nœ & œ œ œ C œ J œ œ œ œ œ J C§ D§ # C§ p pp dim. A# A§ fz A# . . . #œ. . . œ. œ œ . œ. œ œ. œ. . œ. œ. œ. œ. {?# R ≈ . nœ œ R ≈ œ. ≈ . œ ≈ œ. ≈ œ œ R R . . œ. œ Jœ #œ. Jœ œ. nœ. rit. r # ™ #œ ‰ œ ≈ ‰ œ œ & œœ™ œ œ œ œ œ œ œ j j œ œ œ œ #œ œ œ ≈ œ œ œ#œ œ œ œ #œ œ œ œ D# œ œ p . . . . . pp A# A§ œ . œ. œ. œ œ. œ. ?# œ. œ ? œ œ. œ œ ? œ . #œ ? j { . & œ œ. ≈ œ . & œ ≈ & œ ≈ œ œ œ J œ ™œ œ#œ œ J J œ. œ œœ Copyright © 2020 Arpeggio a tempo ...... # œ. nœ œ. #œ. œ. nœ j #œ. #œ œ. #œ. œ. œ j œœ œœœnœœ#œœ & ≈ œ œ œ œ œ œ nœ ≈ œ œ œ œ œ ##œ œ ≈# œ œ œ œ œ C# ff D§ F§ fz ff ffz E§ _ f D# E# F# G§ F§ # G# A§ . . A# . œ _ n#œ j . œ. œ ##œ . #œ. #œ #œ {?# œ. ≈ œ r nœ œ. #œ ≈ œ r œ œ. œ ≈ œ #œ œ œ œ. . R . œ #œ. #œ R œ . . œ #œ œ #œ #œ. . . . œ.

# nœ œ ™ œ ™ r ≈ > œ œ œ ≈ #œ™ œ œ œ™ ‰ œ œ œ ‰ œ œ œ œbœ & J œ œ ≈ œ œ œ #œ œ bœ œ œ œ C§ dim. D§ fff A§ A . . . . . œ. . # mp A§ E b . r . œ. œ. œ. œ. œ œ œ. œ. œ {?# œ . #œ ≈ . œ œ. . œ. œ. ≈ j . R ≈ j œ œ œ R œ R . . œ. œ. œ œ. œ. œ. œ.

1 ‰ r ≈ 1

# ‰ ‰ ∏ ™ ∏ œ œ ∏ ™ œ ∏ j ∏ œ œ ∏ œ œ œ ≈ œ œ œ œ ∏ & ™ œ ∏ œ œ œ œ œ

œ œ œ ∏ œ œ 4 œ ∏ œ œ J œ bœ œ œ œ . nœ œ œ œ #œ œ dim. . . . . > œ E§ p > B pp b B§ D# . j œœ. ?# œ. . œ œ. ? . œ. œ . ? j { œ ≈ œ œ. ≈ œ ≈ &bœ . œ ≈ ≈ &œ ≈ . R œ œ œ J œ . J œ œ. . . œ. œ. rit. a tempo m . m . . . # œ œ #œ. œ œ. #œ œ œ œ j œ œ œ œ ≈ ≈ & œ œ œ œ R R C mp mf A# œ # G# A§ ?# r r ? { œ & œ œ ≈ œ #œ œ œ œ ≈ œ œ œ #œ œ œœ™ #œ œ œ #œ œ œ œ œ #œ œ œ

™ m œ œ m œ œ # œ œ #œ œ œ#œ œ œ nœ œ œ œ #œœ œœ œœ œ œ œ œ ≈ œ œ œ R ≈ & #Jœ œ #œ R pp f p D§ C§ 3 3 3 3 3 3 F§ G§

- ∏ ≈ œ ≈ œ ≈ œ œ œ œ œ ∏ - œ œ œ ≈#œ ≈#œ ≈#œ #œ r ? ∏ œ r ? ?# ∏ nœ { œ #œ #œ œ œ œ &#œ œ œ ≈ ∏ & œ œ œ ≈ œ J œ. . œ. Jœ nœ. . œ.

poco a poco ritardando ™ ∏ ™ ∏ ∏ ∏ ∏

∏ ™ ™ œ ∏ œ ∏

™ ∏ ™ ∏ œ œ œ œ j ™ ™ œ™ ∏ œ™ ™ ∏ œ œ # ≈ œ œ œ œ™ œ œ & œ ≈ œ ≈ œ ≈ œ ≈ œ œ #œ nœ #œ nœ œ nœ œ œ C pp C§ fz # ______F# D# G# § A# § G# § F§ G# f pp

∏ _

œ #œ ∏ mf # œ ∏ œ U # œ ∏ ™ ™ ™ ∏ ∏ œ œ œ ∏ œœ ?# #œ nœ œ ™ ∏ ™ ∏ ™ œ œ œ œ œ™ ∏ œ™ ∏ œ™ { nœ œ ™ ∏ ™ ∏ ™ œ œ œ ∏ ∏ J œ nœ #œ #œ #œ #œ

Copyright © 2020 Arpeggio History of the Op.72

After the commercial success of the first series of Slavonic Dances, Dvořák’s publisher Simrock was keen to publish a se- cond series and tried for a long time to persuade the composer to write another set of dances, but was reluctant. In letters to Simrock, for example, he states that “to do the same thing twice is fiendishly difficult!” But the publisher leaned on him for so long that the composer eventually capitulated and, after an interval of eight years, began writing a new series. Simrock now addressed him in quite a different tone: “The Slavonic Dances are a pure delight and I think that they will be quite different (no joke and no irony!)”. Dvořák found the task easy and worked on the pieces almost as quickly as before; within a month they were ready.

For his second series in 1886, Dvořák incorporated into his spectrum of dances a number of other types: in addition to the polka, skocna, sousedska, furiant and , he had used in his first series, he also introduced a Czech spacirka (prome- nade dance), a Polish polonaise, a Serbian kolo (round dance), and the odzemek, a fast male dance from the Wallachian- -Slovak border region. The overall character of the music was also unlike the first series. The second series indeed reflected the level Dvořák had reached in his composition work (in the intervening period, Dvořák had produced several important and mature works, such as his violin concerto, the sixth and seventh symphonies and the ). Unlike the first set of eight dances, which all carry an atmosphere of joy and contentment, the second series has a much more diverse palette of moods, from the melancholic to the wild and ecstatic. The composer came up with highly idealised dance modes, as if he no longer stood in the middle of the dance floor but was observing the action from some way off. He also showed greater diversity in the structure of his themes. Some are periodic, while others are irregular. Moreover, the instrumentation of the orchestral version is more sophisticated than that of the first series. In certain dances, Dvořák decides not to use the whole and, even with minimum of devices, he is still able to produce a stunning effect. Worth mentioning is the original way in which he brings the entire series (effectively both series) to its culmination. The sixteenth Slavonic Dance bears the heading “sousedska”, yet the music is now far removed from an actual dance – the composer presents it to his audience in a supremely stylised and highly poetic form. This is not a dance in the true sense, but more a nostalgic memory of it: Dvořák’s subtle, quiet farewell to his Slavonic Dances.

The 2nd Slavonic Dance in e minor is called dumka. Dumka is a piece of Slavic music originating as a folk ballad or lament, typically melancholy with contrasting lively sections. Antonín Dvořák ( 8. 9. 1841 - 1. 5. 1904)

Antonín Dvořák was a Czech composer, one of the first to achieve worldwide recognition. Following the Romantic-era na- tionalist example of his predecessor Bedřich Smetana, Dvořák frequently employed rhythms and other aspects of the folk music of Moravia and his native Bohemia. Dvořák‘s own style has been described as the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them.

Dvořák displayed his musical gifts at an early age. The first public performances of his works were in in 1872 and, with success, in 1873, when he was 31. Seeking recognition beyond the Prague area, he submitted score his First Symphony to a prize competition in Germany, but did not win, and the unreturned manuscript was lost until rediscovered many decades later. In 1874 he made a submission to the Austrian State Prize for Composition, including scores of two further symphonies and other works. Although Dvořák was not aware of it, Johannes Brahms was the leading member of the jury and was highly impressed. The prize was awarded to Dvořák in 1874, in 1876 and in 1877, when Brahms and the prominent critic Eduard Hanslick, also a member of the jury, made themselves known to him. Brahms recommended Dvořák to his publisher, Simrock, who soon afterward commissioned what became the Slavonic Dances, Op. 46. These were highly praised by the Berlin music critic Louis Ehlert in 1878, the sheet music (of the original 4-hands version) had excellent sales, and Dvořák‘s international reputation was launched at last.

Dvořák‘s first piece of a religious nature, his setting of , was premiered in Prague in 1880. It was very suc­­cessfully performed in London in 1883, leading to many other performances in the United Kingdom and United States. In his career, Dvořák made nine invited visits to England, often conducting performances of his own works. His Seventh Symphony was written for London. Visiting Russia in March 1890, he conducted concerts of his own music in Moscow and Saint Petersburg. In 1891, Dvořák was appointed professor at the Prague Conservatory. In 1890–91, he wrote his Dumky Trio, one of his most successful pieces. In 1892, Dvořák moved to the United States and became the director of the National Conservatory of Music of America in New York City. While in the United States, Dvořák wrote his two most successful orchestral works: the Symphony From the New World, which spread his reputation worldwide, and his Cello Concerto, one of the most highly regarded of all cello concerti. He also wrote his most apprecia- ted piece of chamber music, the American String Quartet, during this time. Increasing recognition in Europe and an onset of homesickness, led him to leave the United States and return to Bohemia in 1895.

All of Dvořák‘s nine operas, except his first, have librettos in Czech and were intended to convey the Czech national spirit, as were some of his choral works. By far the most successful of the operas is . Among his smaller works, the seventh Humoresque and the „Songs My Mother Taught Me“ are also widely performed and recorded. He has been de- scribed as „arguably the most versatile composer of his time“. Barbora Plachá, transcriber

Barbora Placha, born in Prague, is one of the leading harp soloists of the younger Czech generation. She plays not only classical music, but also likes to take part in multigenre projects. The public appreciates Barbora Placha’s poetic inter- pretation and feeling for music. She has received prizes at harp and chamber music competitions at home as well as abroad (Slovenia, Poland, Belgium, etc.). As a concert artist she has appeared all over Europe and in Asia, Mexico and other countries. In 2017, she played for Belgian King Albert II. and also for the 80th birthday of the Norwegian King Harald V. Her appearances have been broadcasted for Czech, Slovak, Norwegian, Estonian national radio programmes. Thanks to her musical versatility, Barbora Placha makes regular solo appearances with and chamber ensem- bles. She has also played jazz with many leading jazz musicians in the Czech Republic (David Dorůžka, Luboš Soukup, Jan Jirucha) and in Norway (Silje Nergaard, Helge Sunde, Morten Gunnar Larsen). With the SALOME ensemble, she has perfor- med Karel Kryl’s Song Cycle for voice, harp, clarinet and guitar at more than 170 concerts all over the Czech Republic and Slovakia. She has played at many prestigious music festivals in the Czech Republic and abroad. She has appeared with many noted artists (Vaclav Hudeček, Petr Nouzovský, Eli Kristin Hanssveen, Magnus Staveland, Yossi Arnheim and others).

In Oslo, she is a member of the +47 Ensemble which performs Scandinavian contemporary music. In order to broaden the solo harp repertoire she has been collaborating with important composers, e. g. Kjell Habbestad, Marcus Paus, who have dedicated their works to her. She also strives to broaden the repertoire by making her own arrangements of works by Czech romanticist composers. Impelled by her passion for teaching young people, she founded the Arpeggio Harp School in Prague in 2011 and the Norsk Harpeakademi in Oslo in 2017. Her students regularly win international harp competitions, and Barbora is often invited to be a jury member at harp competitions. She is also regurarly invited to give workshops and master classes at music schools, conservatories and harp festivals.

In 2011 Barbora Placha established the Harp Atelier Arpeggio in Prague; it is the sole authorized distributor of French Camac harps for the Czech Republic and Slovakia. Harp Atelier Arpeggio runs the harp school mentioned above, and also initiates and organises a variety of musical projects.

In 2014 Barbora established the Prague Harp Festival, of which she is Artistic Director.

She graduated from the Prague Conservatory, the Royal Conservatory in Brussels (the harp class of Jana Bouškova) and the Norwegian Academy of Music in Oslo (the harp class of Isabelle Perrin). She has continued to perfect her artistry by atten- ding master classes and regular lessons with notable musicians, e. g. Pierre-Laurent Aimard, Andrew Manze, Wolfgang Pla- gge, Leif Ove Andsnes, Masumi Nagasawa and others. As one of a small number of the world’s harpists she devotes herself intensively to the interpretation of late Baroque and Classical music on an authentic 18th century single-action pedal harp. She plays a unique Louis XVI French harp made in 1779 by Renault & Chatelain, which existed at the court of Marie Antoi- nette; she uses this instrument to play mostly works by Czech classicist composers. On this harp she released in February 2020 her debut solo CD: Krumpholtz & Dussek, Works for Harp, under the label ArcoDiva. www.barboraplacha.cz Antonín Dvořák Slavonic Dance No. 2 Op. 72 Transcribed for the harp by Barbora Plachá

Published in Prague in 2020 by Arpeggio s.r.o.

www.arpeggio.cz https://cz.camac-harps.com/cs/ ISMN 979-0-706576-00-8

All rights reserved. Any unauthorized reproduction is prohibited by law. Czech Romantic Music For The Harp

Antonín Dvořák Slavonic Dance No. 2 Op. 72 Transcription for the harp by Barbora Plachá

ISMN 979-0-706576-00-8