The Dvorak piece that was originally transcribed and written for orchestra is fabulously reduced to piano solo. The levels of intricacy are there from the very first note of the piece. You have the sixteenth notes with the thirty-second rests that make the first section, hop, skip, and dance along.
The second mini-section is a singing section that uses the damper pedal for the phrases of it remain legato throughout. We still have some of the grace note or quick note activity from the previous phrases but those are reduced a bit by the legato lines.
Then the parallel minor of F sharp comes in as a possible second movement. It continues the same singing style or melodious prowess that the previous section had. It has some hard endings to the phrases, complete with octaves and tenths in the melody that are hard to do without slowing down; hence the rubato. Dvorak complicates the texture even more by adding more octaves, fourths, and fifths in the chords together to make the melody sound huge. The reason behind this is that the version for orchestra (the original) has four or five parts that have to be played. So, in the piano reduction, one has to pick and choose which harmony notes will be displayed. Then this all ends on the five chord in leads us back to the dancing section as was at the beginning of the piece.
Then the last movement is dancing all along to the end, but doesn't repeat certain sections of the cantabile portion and abruptly ends with a jazzy five-one cadence.
The piece only lasts about two and half minutes, maybe less, depending on the tempo you use to start off with. Take a listen to both the piano and orchestral versions and note there differences. I can not more of the grace note activity in the orchestra one than in the piano version. Both of them are beauties to behold. Listen and treasure these for yourself.
