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The Mice Return to the Basement, Where the Bassoons Have Joined the Cellos and Double-basses.
Jeremy Siepmann
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in August, 2026
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Relief, At Last: The Mice Back Off, Making Way for a Remainder of the Main Theme from the Trumpets.
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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The 'obsession' Takes Root, With a Ten-fold Repetition, Before the Arrival of the Second Subject.
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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Now They Return to the High Winds, Delicately Trilling.
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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We Meet the Mice Again, Now In the Cellos and Double-basses, Where They Persistently Refuse to Run.
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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The Second Half of This 'transitional' Theme Is Given to the Winds the Strings Have Finished.
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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The Triplets of the 'transitional' Theme Are Now Handed Down Through Strings
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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The Rhythm of the Opening of the 'Goin' Home' Theme Dominates, Transformed By Trumpets
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
0—100 AIRPLAYS
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The Main Theme, Part Two. a Codetta-like Passage Closes Off the March
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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The Violas React Every Time the 'Goin' Home' Theme Is Quoted By the Winds.
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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Fourth Movement (Complete)
Jeremy Siepmann
Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
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