Antonín Dvořák was born in Mühlhausen, Bohemia (now Nelahozeves, the Czech Republic), on September 8, 1841, and died in Prague on May 1, 1904. The first performance of the Cello Concerto took place at Queen’s Hall in London on March 19, 1896, with Leo Stern as soloist and the composer conducting the London Philharmonic Society. In addition to the solo cello, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, two trombones, bass trombone, tuba, timpani, triangle, and strings. Approximate performance time is forty minutes.

Antonín Dvořák composed his Cello Concerto between November 1894 and February 1895. At the time, the Czech composer was serving as Director of the National Conservatory of Music in America in New York City.

During the composition of the Concerto’s second movement, Dvořák learned of the grave illness of his sister-in-law, Josefina Kaunitzová. As a young man, Dvořák had been in love with Josefina. Even though she rejected his marriage proposal, the two remained dear friends. Dvořák included a quotation of one of Josefina’s favorite songs in the Concerto’s second-movement. Josefina died on May 27, 1895. After learning of that tragedy, Dvořák extensively revised the final movement’s coda, including yet another reference to the song quoted in the Adagio ma non troppo. He completed the final score on June 11, 1895.

Since the Concerto’s premiere in 1896, it has been recognized as one of the glories of the repertoire for cello and orchestra. After reviewing the score, one of Dvořák’s friends—a man by the name of Johannes Brahms—exclaimed: “Why on earth didn’t I know one could write a violoncello concerto like this? If I had only known, I would have written one long ago!”

The Dvořák Cello Concerto is in three movements. The first (Allegro) opens with the traditional orchestral exposition of the principal thematic material. The soloist enters with his own presentation of the themes, beginning with an emphatic, and far more elaborate version, of the opening motif. After a development and recapitulation of the principal themes, the opening movement concludes with dazzling passagework for the soloist, and a martial setting of the opening motif.

The slow-tempo second movement (Adagio, ma non troppo) is in A—B—A form. The central “B” section opens with a savage outburst, followed by the soloist’s introduction of a beautiful melody, based upon Dvořák’s  song, “Lasst mich allein” (“Leave me alone”), Opus 82, No. 1 (1887-8)—a favorite of his lamented sister-in-law, Josefina Kaunitzová.

The principal theme of the Concerto’s Finale (Allegro moderato) is an energetic, rustic melody, first introduced in full by the soloist. The theme alternates with affecting lyrical interludes, one including an unforgettable soaring melody introduced by the cellist and later played by a solo violin. The tranquil coda features reminiscences of the opening movement’s principal theme, as well as Josefina’s beloved song, first quoted in the Adagio ma non troppo. Suddenly, a final crescendo leads to the brilliant, Allegro vivo dash to the finish.

program notes by Ken Meltzer