Dvorak Cello Concerto

Sticky Notes: The Classical Music Podcast

Joshua Weilerstein

Clarinet, Timpani, Performing, Trombone, Cello, Trumpet, Bassoon, Classicalmusic, Performing Arts, Arts, Violin, Flute, Piano, Conductor, Music, Weilerstein

4.9 • 2.1K Ratings

🗓️ 18 January 2024

⏱️ 49 minutes

🔗️ Recording | iTunes | RSS

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Summary

When you think of the genre of the concerto, you might be thinking of something like this: virtuoso fireworks, perhaps over romantic gestures designed simply to show the soloist off, and a rather pedestrian orchestral part, giving the soloist all of the spotlight while the conductor and orchestra are mere accompanists. Of course, this is a huge generalization and it isn’t true about many concertos. But of all of the concertos that I conduct regularly, and hear regularly, there is one that always stands out as the exception to the rule: Dvorak’s Cello Concerto. The Dvorak deserves every bit of popularity it has received over the years. In fact, you could argue that it is THE perfect concerto. It's enjoyable to play, perfectly written for the cello, enjoyable to listen to, and enjoyable to accompany for the orchestra. It has everything, which makes it all the more shocking to think that before Dvorak wrote the piece, he didn’t even think of the cello as a suitable instrument for a solo piece! But once convinced of the cello’s viability as a solo instrument, Dvorak gave everything to to the piece. We’ll talk all about the sometimes tragic history behind the writing of the concerto, the specific difficulties it places on the cellist, the conductor, and the orchestra, and of course, go through the piece in detail, pointing out all the different facets that result in the Dvorak being perhaps the greatest of all concertos. Join us!

Cellist: Miklos Perenyi

Transcript

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0:00.0	Hello and welcome to Stickyicky Notes to Classical Music Podcast.
0:14.0	My name is Joshua Wilerstein.
0:15.0	I'm a conductor and I'm the chief conductor of the Allborg Symphony
0:18.0	and the music director of the Phoenix Orchestra of Boston.
0:21.0	This podcast is for anyone who loves classical music, works in the field,
0:25.0	or is just getting ready to dive into this amazing world of incredible music.
0:29.0	Before we get started, I want to thank my new Patreon sponsors, Mary, Dana, Dirk, Martin, Rachel, Nicholas, C.G.
0:36.6	Monica, Daisy, D'Oarn, Jacqueline, Hindi, Lori, Glenn, and all of my other Patreon sponsors for making season 10 possible.
0:46.9	If you'd like to support the show, please head over to patreon.com slash sticky notes
0:50.8	podcast.
0:52.0	And if you are a fan in the show, please stick a moment to give us a rating or review on
0:55.0	Apple Podcasts. Every rating or review is greatly appreciated.
0:59.2	Really excited to share with you an episode on one of my favorite pieces in the whole world,
1:06.0	Devoirchach's cello concerto you might be thinking of something like what you're hearing
1:20.4	virtuoso fireworks perhaps some over-romantic gestures designed simply to show the soloist off, and maybe a rather pedestrian
1:29.3	orchestral part, giving the soloist all of the spotlight while the conductor and orchestra are mere
1:34.7	accompanists. Of course this is a huge generalization and it isn't true about many
1:39.5	concertos. But of all the concertos that I conduct regularly and hear regularly, there is one that always stands out,
1:48.0	Devor Jacques's cello concerto. The Devorschak deserves every bit of popularity it is received over the years.
1:55.0	In fact, you could argue that it is the perfect concerto.
1:59.0	Enjoyable to play, perfectly written for the cello,
2:02.0	enjoyable to listen to, and enjoyable to written for the cello, enjoyable to listen to, and
	...

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