Description
Release Date: 01/01/98
The posturing style of the Romantic concertos did not come naturally to Schumann, who looked more towards poetic ideas t
The posturing style of the Romantic concertos did not come naturally to Schumann, who looked more towards poetic ideas than to instrumental bravurain his two best examples of the genre, the concertos for piano and for cello. He had already developed a great liking for the cello in the early 1840s when he lost the use of one of the fingers of his right hand while training for a career as a concert pianist. This disability did not, however, prevent him from playing the cello, which he studied for some time and for which he composed a number of chamber works. In the cello concerto Schumann successfully applies a chamber music approach on an orchestral scale. 'Why on earth didn't I know it was possible to write a cello concerto like this? If only I had known, I would have composed one long ago,' grumbled the ageing Johannes Brahms after studying the score of the cello concerto by Antonin Dvorak (1841 -1904). The Czech cellist Hanus Wihan had been asking Dvorak to compose a cello concerto for years, but Dvorak was doubtful about the instrument's suitability for the role of soloist. But while teaching at the New York Conservatory in 1891- 94, he heard the second cello concerto by Victor Herbert. Scored for large orchestra, three trombones and all, this concerto gave Dvorak a completely new insight into the potential of the cello concerto.
| Label: Alba Records |
| Genre: Classical |
| Run Time: 60 mins |