Providing the greatest possible contrast to this meditative fragment, there then follows a short coda which resolutely closes the work in tutti fortissimo. I give you my work only if you promise me that no one — not even my esteemed friend Wihan — shall make any alteration in it without my knowledge and permission, also that there be no cadenza such as Wihan has made in the last movement. The cello enters and a gradual decrescendo to another restatement of the theme marked piano. The solo cello ends with trills on a high B. Do not be surprised that I am writing this to you; self-praise is generally not reliable, but I have to tell you that this work brings me pure joy and I think that I am not mistaken.
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The tangible autobiographical undercurrent of the movement and of the whole work is also intensified by the harmonic development from the main theme in B minor to the prevailing major-key character of the movement later on.
A fast scale leads into a loud tutti section presenting new material. The solo cello begins with a quasi improvisando section stating the theme in B major followed by triple-stopped chords.
The final movement is formally a rondo. Moreover, Dvorak did not recognise the cello as a solo instrument: The concerto has been recorded by nearly every well-known cellist.
Its outer sections treat the same thematic material which is varied at the close of the movement in some kind of quasi improvisation piece. There are many compositions for cello and orchestra by various composers, but there are none, for example, by J.
Wihan to play your Concerto. The reviews of the premiere were extremely complimentary, both towards the work itself, and its interpretation: I hope that he will agree to it, but it would be good if you wrote to him asking him if he would perform it.
Leo Stern played the solo part with good taste, musicianly expression, and faultless technical skill, and the work was received with much enthusiasm. Stern was surprised by fello technical difficulty of the solo part: On 11 March he informed Josef Bohuslav Foerster: Dvorak wrote this work during the final academic year of his time in the United States.
I give cwllo my work only if you promise me that no one — not even my esteemed friend Wihan — shall make any alteration in it without my knowledge and permission, also that there be no cadenza such as Wihan has made in the last movement. One author  suggests that there was little American influence on the concerto.
Retrieved from " https: This fast section leads into a section marked poco meno mossodolceand piano. Guestbook Links About the web Sources.
Cello Concerto (Dvořák) - Wikipedia
He wrote of his progress to his friend Alois Gobl in a letter: In short, it has to remain the way I concertl felt it and thought it out. Leo Stern who says he knows the Work.
The movement ends tutti with the restatement of the first theme marked grandioso and fortissimo.
Dvorak himself recommended Wihan as the soloist for the premiere: The cadenza in the last movement is not in the score, nor in the piano reduction; I told Wihan as soon as he had shown it to me that it is not possible to cobble the work together in this manner.
The second subject is a lyrical melody that is almost vocal in character. The concerto ends allegro vivo presented by full orchestra.
Nevertheless, in the autumn ofhe suddenly decided to write a cello concerto. But Dvorak insisted upon his conception and resolutely rejected the idea of a cadenza. With its major-key variations on the main themes, the recapitulation introduces a rather more optimistic mood and leads into a stunning coda.
I give you my work only if you will promise me that no one — not even my friend Wihan — shall make any alteration in it without my knowledge and permission, also that there be no cadenza such as Wihan has made in the last movement; and that its form shall be as I have felt it and thought it out.
The celebrated cellist Robert Hausmann was one of cwllo artists to perform the work soon after its premiere. The solo cello enters by playing the modified main theme loudly which is marked risoluto. Janos Starker also recorded the work three times: Berger proposed the date 19 Marchbut that date was not convenient for Wihan it may have clashed with concert dates for the Bohemian Quartet, to which Wihan was already contracted.
The solo cello ends with trills on a high B.