![]() The cello enters “ Quasi Improvisando” with a declamatory statement, then the soloist is in turn bold, spirited, and expressive while executing difficult double stops, chords, and fast passage-work. The concerto begins with a long and grandiose introduction from the orchestra. Dvořák was unsure of the soloistic capabilities of the cello, and he repeatedly resisted the pleas of his friend cellist Hanuš Wilhan to write a concerto for him, but after hearing Victor Herbert perform his second cello concerto, Dvořák decided perhaps the cello was suited after all. Next, we will move on to works, which I hope you agree, deserve to be played and heard, concertos you could have in your repertory, and then to works that have recently been written for our instrument, a selection of which you ought to have in your repertoire.Īntonín Dvořák: Cello Concerto in B minor (Kian Soltani)Īntonin Dvořák’s Cello Concerto in B minor, Op.104, perhaps the best-known and most beloved cello solo, is lush, romantic, and technically challenging. We will begin with the concertos I think a cellist should have in their repertoire. All soloists must bow to the preferences of presenters or conductors.Ī closer look into the repertoire reveals, in addition to the concertos which might immediately come to mind, a large number of works that might enhance our offerings and be appealing to a presenter. ![]() To complicate matters, there are fewer cello soloists on the roster of an orchestral season, although the days of cellists being “bad box-office” are thankfully behind us. Likewise, audience members are thrilled to hear a pianist perform the masterworks of Rachmaninoff, Mendelssohn, Mozart, and either of the Prokofiev’s or, Grieg, Schumann, Shostakovich, Bartók and either of the Ravels.Ĭellists, though, have the disadvantage of fewer pieces written for their instrument and not all of them are considered the quality of the concertos named above. My teacher János Starker used to say that cellist soloists have to be ready to play a greater number of concertos than our more brilliant sister, the violinist, who can play an entire season with four or perhaps five concerti under their fingers-think Brahms, Mendelsohn, Barber, and Sibelius or Bruch, Beethoven, Tchaikovsky, and Bartók.
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