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DVORAK – Cello Concerto in B minor, Op.104 – 5 CELLOS (SOLOIST and QUARTET, or accompanied by Cello Orchestra)

Other Identification:
The Cello Concerto in B minor, Op. 104, is the last solo concerto by Antonín Dvořák and the most glorious. It was written in 1894 for his friend, the cellist Hanuš Wihan, but was premiered by the English cellist Leo Stern (probably due to unchangeable commitments in Wihan’s concert diary). It is generally considered the ‘greatest’ cello concerto in existence although, of course, these things are of personal opinion. The existing piano reduction is an approximation of the orchestral general score, and does contain some publishing errors when compared to the score in orchestral performance.

Movements or sections:
and is cast in the standard three-movement concerto format:
I. Allegro (B minor then B major)
II. Adagio, ma non troppo (G major)
III. Finale: Allegro moderato-Andante-Allegro vivo (B minor, later B major)

Total duration: approximately 40 (+) minutes.

The work is basically transcribed in full, although by stating ‘rehearsal cello ensemble’ I have taken the liberty to shorten some of the tuttis; it was felt that with ‘only’ cellos present there would be less contrast of sound colours to what one hears in the orchestral tuttis. However, for more informal performances this concept will work perfectly.

Instrumentation:
QUINTET OF FIVE CELLOS – CELLO SOLOIST AND CELLO QUARTET
CELLO SOLOIST ACCOMPANIED BY AN ORCHESTRA OF CELLOS

NINE (9) PDFs:
1 – Movement 1 – Accompanying Cellos 1 and 2
2 – Movement 1 – Accompanying Cellos 3 and 4
3 – Movement 2 – Accompanying Cellos 1 and 2
4 – Movement 2 – Accompanying Cellos 3 and 4
5 – Movement 3 – Accompanying Cellos 1 and 2
6 – Movement 3 – Accompanying Cellos 3 and 4
7 – Soloist (with Johnstone rehearsal numbers) – Movement 1
8 – Soloist (with Johnstone rehearsal numbers) – Movement 2
9 – Soloist (with Johnstone rehearsal numbers) – Movement 3

This may be played with four solo cellists accompanying the soloist or by a full cello orchestra. Both might offer interesting interpretations. If performed by ‘quintet’ then the four accompanying cellists have very chamber music like roles, and although the first parts are more exacting the lower two parts certainly have much material with which to enjoy! If played by cello orchestra then I would recommend you playing divisi in the double or triple stoppings, and of other brief moments that might benefit from a solo player in the section (for example, corresponding to a few flute or oboe solos from the score) but this I leave these decisions entirely to you!

Approximate difficulty:
Difficult
I always felt that a cello ensemble version with soloist would make a most interesting option for almost everyone of advanced levels! That is to say: music conservatoires, the cello sections of professional or advanced level community symphony orchestras, and certainly to the younger generation of promising cellists who understandably wish to get the feel of what it is really like playing a ‘big’ concerto but do not (as of yet!) have a concert performance invitation from a full orchestra. So, the idea, in part, is for a soloist to gain much confidence, fully hearing the sustaining harmonies in a way in which a piano alone does not offer you.

Dedicatee of this presentation (if applicable):
I was about two-thirds of the way through arranging the first movement of this concerto when I learnt that the great American cellist Lynn Harrell had passed away. I had received valuable advice from him in the 1980s when I was finishing my studies at the Royal Academy of Music, London. I knew immediately that I had to offer this giant arrangement to his memory.

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