Dvořák - Cello Concerto

 In 19th century musical life, the region of Germany and Austria reigned supreme.  For those ambitious enough to want international recognition as a composer, the best way was to be acknowledged in Germany. All of the master composers of the 19th century had connections with Germany, if not by birth by other connections such as studying there, living there, or knowing the right people there.

Fortunately for many composers, there were famous men of the time that helped otherwise unknown composers get their foot in the door. Perhaps the most magnanimous was Liszt, who met, encouraged and promoted many younger composers of his time. Liszt used his fame (and in many cases his fortune) to help many composers, the most famous being Wagner.  One name that is not thought of as a promoter of another composer's works is Johannes Brahms.

The most prevalent impression of Brahms is an acerbic bachelor that had little use for any of his contemporaries, especially the leaders and followers of the 'New Music' movement led by Liszt and Wagner. Even when Brahms had something good to say about someone else, as a contemporary once said of him, "His compliments sting like salt in the eyes." Brahms once visited an acquaintance that was a minor composer. Brahms got there and saw the man playing outside with his children. His wife apologized, saying that her husband composed so much that he had little time to stop. Brahms replied, "Thank God, it should happen more often."

Brahms could be a cantankerous personality, and there's been much speculation about his childhood and early adulthood and how it formed his personality. But the truth is that Brahms actually did acknowledge the genius of Wagner and thought that his opera 'The Mastersingers Of Nuremburg' as a high point in German art. That he disliked what he thought was the undue influence of these composers with younger composers is to be expected, given Brahms conservative nature.

But Brahms could be a devoted friend, and there is at least one example of his giving his help to an up and coming composer. Brahms was on a panel that was to select a gifted composer in the Hapsburg Empire to grant a stipend to help them keep composing. It was then that Brahms was amazed at the huge volume of music Dvořák entered in the competition. Brahms was instrumental in seeing that the stipend was awarded Dvořák not only that year, but the next two years also. Brahms sent letters to his publisher Simrock about Dvořák's music and even worked as a copyist and editor of the music to help speed up its publication. That Dvořák was appreciative is an understatement. They remained very good friends until Brahms death.

Dvořák wrote the Cello Concerto near the end of his time in New York City in 1894-1895.  It had its premiere in 1896 in London, England, which was conducted by Dvořák.

I. Allegro - The first movement begins quietly with clarinets and low strings. The orchestra reaches fortissimo and the theme continues in a robust manner. The orchestra gradually calms until the gentle and lyrical second theme is played by the horns. A rousing third theme rounds out the orchestral part of the exposition. Dvořák labels the cello entry with its version of the first theme quasi improvisando, like an improvisation. The cello’s version is punctuated by triple stops. A long section of trills by the soloist lead to a quickening of the first theme that leads to the cello’s version of the second lyrical theme.

The development section begins with a section for orchestra that expands the first theme until the cello plays a more lyrical version of it. The music quickens as the cello plays accompanying figures in sixteenth notes as the woodwinds continue to develop themes. The cello becomes more animated and complex with rapid double stops, and a climax is reached when the cello plays in chromatic octaves until the second lyrical theme is played in a louder version. The cello soon takes it back up and returns it to its gentleness. The cello plays rapid arpeggios and leads to the first theme once again, which after an increase in tempo brings the movement to an end in B major.  

The last piece of music of Dvořák’s that Brahms worked on was the Cello Concerto. He corrected the proofs and played the piano reduction of the orchestra with a cellist and is reported as saying, "If I had known that it was possible to compose such a concerto for the cello, I would have tried it myself!" No doubt this vast, virtuosic, and complex movement had a lot to do with that comment.

II. Adagio ma non troppo - Dvořák’s sister-in-law who he was very fond of inspired the second movement. He was in love with her but it didn't work out so he ended up marrying her sister. In the movement Dvořák quotes one of his own compositions, a song that he wrote that was one of his sister-in-law's favorites.  She had been taken ill while Dvořák was composing the score. The woodwinds begin the movement, and the cello enters with a theme in G major.  A more spirited middle section leads to the return of the initial theme with a version played and elaborated by the horns before the cello plays a solo that involves playing with the bow while accompanying itself with pizzicato notes on an open string. The movement gently ends as it begins.

III.  Allegro moderato - Andante - Allegro vivo - A theme that seems related to the first movement first theme is played by the horns. The music turns ever more rhythmic with a call and response section for cello and orchestra. A new theme enters and is developed. The opening theme returns and leads to another episode a few times. Themes from the first and second movements reappear. After Dvořák came back to his homeland from New York, his sis-in-law died, and he added this slow, quiet section to the concerto as a tribute. After this is played through, the orchestra ends the movement with a flourish in B major.