Concerto for Cello in B minor, Op. 104/B. 191 (Critical Edition) Cover Image

Concerto for Cello in B minor, Op. 104/B. 191 (Critical Edition): Full Orchestra, Conductor Score

$160.00 USD
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Concerto for Cello in B minor, Op. 104/B. 191 (Critical Edition) Cover Image
Concerto for Cello in B minor, Op. 104/B. 191 (Critical Edition): Full Orchestra, Conductor Score

Concerto for Cello in B minor, Op. 104/B. 191 (Critical Edition): Full Orchestra, Conductor Score

By Antonín Dvorák / arr. Otakar Sourek

Item: 36-A713202
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Description
Antonín Dvorák (1841-1904) composed his Concerto for Cello in B minor, Op. 104/B. 191 in 1894. It was the last solo concerto that the composer wrote, and it was the final work that he wrote during his three-year term as Director of the National Conservatory of Music in New York. While the encouragement to write the concerto came from cellist Hanuš Wihan, the work was premiered in the end by cellist Leo Stern on March 19, 1896, with Dvorák conducting the London Philharmonic. This critical edition based on the composer's manuscript has been created by Otakar Šourek. Instrumentation: 2(2nddPicc).2.2.2: 3.2.3.1: Timp.Perc(1): Str (9-8-7-6-5 in set): Solo Cello.

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Additional Details
Series: Kalmus Critical Editions
Publisher: Keiser Productions, Inc.
UPC: 676737531447
SKU: 36-A713202
Instrumentation: 2(2nddPicc).2.2.2: 3.2.3.1: Timp.Perc(1): Str (9-8-7-6-5 in set): Solo Cello

More about this title

About the Composer: Antonín Dvorák

Antonín Dvorák (1841-1904) stands among the most performed composers of the nineteenth century, and his ability to write idiomatically for orchestra while maintaining deeply personal voice secured his place in the concert repertoire. Born in Bohemia, Dvorák spent much of his career building an international reputation, eventually accepting a three-year directorship at New York's National Conservatory of Music (1892-1895), where he composed some of his most enduring works while absorbing influences from American musical traditions.

Why we love this

This concerto demands serious orchestral chops while offering the conductor a showcase for transparent, elegant orchestration that never obscures the soloist. Dvorák's thematic generosity and formal clarity make it an ideal choice for orchestras aiming to program a major Romantic-era concerto that audiences recognize and musicians respect.

What to expect

The work unfolds with Romantic grandeur and emotional directness: the opening orchestral statement announces noble, singing themes that the cello then claims and transforms, moving through passages of technical brilliance and intimate lyricism. Dvorák's harmonic language feels both warmly Romantic and subtly adventurous, creating a work that feels both familiar and endlessly rewarding.

Who it's for

Orchestras with accomplished cello soloists and conductors seeking a masterwork that rewards careful preparation and offers immediate artistic payoff. This critical edition serves professional and advanced amateur ensembles looking for performing materials grounded in scholarly editorial practice.

How to get the most out of it

  • Balance the solo cello against the woodwinds in the opening orchestral exposition. The second oboe line carries significant thematic material, but should never overwhelm the soloist's subsequent entries.
  • Shape the timpani and percussion contributions carefully; they mark structural moments rather than drive rhythmic momentum, so clarity of gesture matters more than volume.
  • Coordinate string sections through the transition passages where tutti writing shifts between sustained harmonies and active accompaniment, maintaining forward motion without rushing.

How to use it

Position this as a centerpiece of an all-Romantic season or pair it with other works by Dvorák to highlight his orchestral voice. Its familiar appeal makes it especially effective mid-season when audiences and orchestra are settled, allowing full attention to the soloist's performance.

Skills your students will build

  • Balancing solo and ensemble voices across changing orchestration
  • Conducting a large Romantic-era orchestra with transparent textures
  • Coordinating complex tutti passages with sustained ensemble control
  • Shaping long melodic lines across the full orchestra

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