Dvorak - Cello Concerto N1 A-dur B.10

Dvorak - Cello Concerto N1 A-dur B.10


Dvorak - Cello concerto A-dur B.10. You can download the PDF sheet music Dvorak - Cello concerto A-dur B.10 on this page. This remarkable and lovely music piece by this talented composer - is still the incomparable masterpiece of string composition for cello. This wonderful work daze the cello player by the interesting brightness of bow and piano cadences plus many other author's features. Written string piece inspires the performer by articulated and lively string technic of composition other custom specialities.

That Dvořák’s pupils knew nothing of his first Cello Concerto (B 10) is not surprising. Few of his friends or contemporaries had much inkling of the true extent of the music he composed in his first decade of productivity (1860–70). Dvořák completed this first Cello Concerto, in A major, in an unorchestrated piano score with a complete solo part on 30 June 1865, in between the composition of his first two symphonies.The work was dedicated to Ludevít Peer (1847–1904), a friend and colleague in the cello section of the Provisional Theatre’s orchestra (Dvořák was a viola player in this tiny band from its foundation in November 1862 to the summer of 1871). Peer was a fine player who was already performing in the theatre orchestra while still only in his late teens and before he had graduated from the Conservatory; his leaving Prague at the end of the summer of 1865, taking the manuscript of the Concerto with him, may on the one hand have stopped the composer from orchestrating the work, but on the other it also prevented Dvořák from destroying it in one of his periodic conflagrations of early compositions.

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Instrument part: 30 pages. 1767 K

 

Piano part: 89 pages. 5243 K

 

Dvorak - Cello concerto A-dur B.10 - Instrument part - first page Dvorak - Cello concerto A-dur B.10 - Piano part - first page
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It is understandable why cellists are interested in Dvorak's early Concerto in A major. They should, however, bear in mind that unlike in the case of the aforementioned compositions Dvorak would by no means be so pleased by this work, or the work in this shape. Yet when it came to the Concerto in A major he could neither "tear up and burn" nor revise, since after finishing it he would never again see the autograph score for cello and piano during his lifetime. On the title sheet he wrote: The Concerto for Cello with Piano accompaniment was composed and dedicated for kind memory to his good friend Ludevit Peer by Antonin Leop. Dvorak, and on the last page he added: Finished on the 30th of June 1865. Shortly afterwards, his friend and co-player from the Provisional Theatre Orchestra Ludvlk Peer went abroad and took with him the autograph, which was only rediscovered at the beginning of the 1920s. The first known performance of this 55 minutes long and in many respects remarkable work took place on 26 April 1929 in Prague, performed by Frantiäek Berka (cello) and Otakar Vondrovic (piano).

Along with the first two symphonies and much of Dvořák’s early chamber music, the Cello Concerto was written on a large scale; in fact, had it had four movements rather than the customary three, it would have been longer than either symphony, each of which approaches an hour in playing time. In design, the Concerto is a good deal more experimental than the first two symphonies: all three movements are linked, the first two by a brief accompanied ‘quasi recitativo’ and the second and third by a long portentous bridge passage. Another feature which, in practice if not effect, looks forward to Dvořák’s second Cello Concerto is the recall of material from the introduction to the first movement in the finale’s coda.

As a competent viola player, Dvořák had more than an elementary grasp of string technique, and there is evident intelligence in the placing of lyrical lines suitably high in the instrument’s register. But his approach to other aspects of cello technique is limited: he did not, for example, make any effort to explore the possibilities of multiple stopping, a feature which is such an impressive aspect of the rhetorical language of the second Concerto. Occasionally in the early Concerto Dvořák shows himself adept at extending phrases with mellifluous figuration, just as he was to do again in the B minor Cello Concerto, but rarely does he achieve the subtle integration that makes the later work so satisfying.

Dvořák’s view that the cello as soloist was best suited to chamber music is somewhat paradoxical: if the timbral qualities of the instrument were unsuitable for solo work in a concerto, why should it fare better when taking a solo line in a chamber work? Dvořák’s use of the cello in a chamber context is in fact extensive and imaginative, although it is also relatively specialised.Among the works written in the same decade as the A major Concerto there is little to suggest more than a routine interest in the instrument for chamber purposes.

 
 
     
 
 
 
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