Written by Anna Vorhes

Born
September 8, 1841, Mühlhausen, Bohemia

Died
May 1, 1904, Prague

Instrumentation
Solo cello, two flutes (doubling piccolo), two oboes, two clarinets, two bassoons, three horns, two trumpets, three trombones, tuba, percussion, timpani, strings

Duration
40 minutes

Composed
November 1894 - February 1895

World Premiere
March 19, 1896, with Leo Stern as soloist and the composer conducting

Something to listen for
Writing for cello as a solo instrument with the orchestra as accompaniment is a trying task.  The range of the solo is easily dominated by other instruments in the same range such as bassoon and trombone, and additionally the high and low instruments can overwhelm the sound of the solo cello unless they take supreme care.  Here, Dvorák chooses to present the solo instrument in an almost Baroque fashion, constructing a conversation between the soloist and the orchestra.  There are times when the cello even slips into the background as other soloists from the sections of the orchestra offer their timbre in contrast.  The overall effect is an enchanting interchange between the soloist and the ensemble.  Also note that there is not a cadenza at the end of the final movement for the cellist to explore the virtuosic sounds the instrument can produce.  To those of us in the audience this is a satisfying work even without that cadenza.  There are many opportunities for soloists in the orchestra, especially winds, to shine, and the cellist shares virtuosic playing throughout the work.

Program Notes

Hanus Wihan was a cellist and friend of Dvorák.  He encouraged his friend to write a concerto to show off Wihan's skill.  Dvorák's interest in doing so was not strong as the composer understood the difficulties in being sure the cello soloist was heard well.  Wihan kept begging for a work, but it wasn't until  Dvorák had been in the United States for some time that the composer decided to write the desired concerto.

The catalyst for this composition was a concert Dvorák attended featuring professional cellist Victor Herbert.  Not only was Herbert an accomplished performer, but he was also a prolific composer of operettas, among other genres.  Today, we often remember him for composing operettas including Babes in Toyland and Naughty Marietta.  As a virtuoso he also wrote works for himself to play with his cello.  Dvorák heard one of Herbert's performances of that composer's own concerto and was highly impressed.  He suddenly understood how he would like to write for the cello.

Dvorák began his Cello Concerto on a brief visit back to his homeland and brought it back to the United States to finish as he completed his tenure in New York.  While he was still in New York he received disturbing news: his beloved sister-in-law Josefina was extremely ill, and possibly at death's door.  The composer channeled his strong feelings of fear and loss into this concerto as Josefina ultimately died before the composer could see her again.

On his return to his homeland, Dvorák passed the concerto to his friend Wihan to edit, looking for fingerings and other mechanical edits.  Wihan did those edits and took his job a step further.  He began suggesting improvements to the concerto that would challenge the performer while staying within the realm of what Dvorák had written.  Some of those edits remain in the score, challenging the cellist to higher level playing.  Some of the edits Dvorák refused.  Among other things, they argued about the "need" for a cadenza at the end of the piece.  Dvorák held firm, wishing the concerto to gently wind down rather than allow for the cellist to offer a stunning display of technique.  It was intended as a final goodbye to his beloved sister-in-law.

The three movements of the concerto keep the format typical for the genre.  The first movement is strong.  There is a asense of melancholy and brooding in the opening first theme.  The second theme offers a lovely tender melody in the horns before the cello enters.  The solo part is demanding, though not overwhelming.  The return of the melodies at the end of the movement is a bit surprising.  Rather than the first theme leading the way, the second theme seems to have conquered the first theme as the important idea of the movement.

The second movement is the expected slow and introspective movement.  Then there is an emotional outburst that announces things are not as simple as once was believed.  Throughout the movement, one of Dvorák's melodies from one of his songs becomes the theme of the movement.  Josefina loved her brother-in-law's composition "Lass mich allein in meinen Traumen geh'n" (Leave me to walk alone in my dreams") more than all his works.  She sang and hummed the melody often.  This melody inhabits the second movement. (An odd aside: Katie Buzard writing for NPR gives the full title of the song.  Most other writers abbreviate the title to "Leave me alone," a much different emotional place than the full title.)  As this movement closes, there are solo moments for the cellist as well as passages accompanying the cello with light instrumentation sounding like someone walking in nature with beautiful bird calls.

The third movement begins with a subtle march beat.  The cello soon argues with the inevitability of the march, instead offering emotional handling of the material.  The result is a movement directed by the cello rather than by the orchestra marching along.  While Wihan advocated for a strong ending with a cadenza, Dvorák was able to hold to his own ideas, ending the concerto as a tribute to Josefina as the cello solo ends.  The orchestra finishes with more flair, but their statement is short.