Talk:Cello Concerto (Dvořák)

From Wikipedia, the free encyclopedia

Cello Concerto (Dvořák) is within the scope of WikiProject Classical music, which aims to improve, expand, cleanup, and maintain all articles related to classical music, that aren't covered by other classical music related projects. Please read the guidelines for writing and maintaining articles. To participate, you can edit this article or visit the project page for more details.
This article is supported by the Compositions task force.

Is it not redundant to say "It is performed very frequently, and many recordings exist." and then later on "...regular performances and good recordings of this piece are relatively easy to seek out."? Hapless Hero

I am making quite some changes in this article:

  • the thesis that the cello concerto is his last major orchestral work goes quite far. In this case his symphonic poems would be triffles, so I take that out.
  • I guess the origin of the first concerto should be part of it as well.
  • Dvořák's attitude towards the cello as solo instrument.
  • the anecdote about the origin of the second concerto is longer and shows more insight in Dvořák's thinking process about the concerto (16-11-2005) Basboy
I would disagree about whether that was truly Dvořák's attitude towards the cello as solo instrument - his piano trios contain many solo parts, as do his quartets (last movement of the American, anyone?) and there are a handful of works—some original, some transcriptions—for cello & piano. I admit he may not have been conviced that the cello would make a succesful concerto subject though. Anyway, this is a piece that is deserving of a better arcticle and is on my Todo list. Lambyuk 17:56, 9 February 2006 (UTC)
There are several sources that indicate Dvořák's attitude to composing for the cello. Wihan had asked for a Cello Concerto for quite some time, but Dvořák didn't want to comply at all. The other works that exist for cello and orchestra were written for the tour he made with Wihan and Lachner, performing his Dumky Trio. It was obvious that both gentlemen should have some show pieces, preferably from Dvořák's own hand. He had written enough works for the violin, but none for cello solo, except the Polonaise, and I think there is some reason for it not having an opus number nor even an autograph. I've played the cello part in the American Quartet, and you are right that he really does an outstanding job there, writing a beautiful solo in high register. Still it is only one of many instruments in the quartet, mingling with the others, rather than a solo, and if compared to Borodin's second quartet it's more of a trifle. Don't get me wrong here, I love Dvořák, but he kept using this excuse on and on ...Basboy 13:39, 23 February 2006 (UTC)

[edit] Approximate times

I changed the approx. times to 13/10/11=35, based on the 1937 Casals/Szell recording, which is "something of a 'gold standard' as far as approaches to tempo are concerned". -Dvořák Cello Concerto by Jan Smaczny, Cambridge 1999. DevastatorIIC 11:14, 22 March 2007 (UTC)

I am not disputing the change, I just wanted to add that those times seem rather fast. The Rostropovich recordings are about 15/12/12 and they are magnificent.--Swattie 18:23, 6 April 2007 (UTC)

[edit] Victor Herbert

I need to look up an appropriate reference for this, but the story I've heard several times is that Dvorak apparently was so impressed when he heard Victor Herbert's 2nd cello concerto when he was in New York (something about the cello cutting through the sound of trombones/low brass without sounding forced) that he was inspired to write his own cello concerto. —Preceding unsigned comment added by 70.108.245.148 (talk • contribs)