Concerto for Violin in A minor, Op. 53/B. 108 (Critical Edition) Cover Image

Concerto for Violin in A minor, Op. 53/B. 108 (Critical Edition): Full Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

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Concerto for Violin in A minor, Op. 53/B. 108 (Critical Edition) Cover Image
Concerto for Violin in A minor, Op. 53/B. 108 (Critical Edition): Full Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

Concerto for Violin in A minor, Op. 53/B. 108 (Critical Edition): Full Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

By Antonín Dvorák, ed./arr. by Otakar Sourek/ Jarmil Burghauser

Item: 36-A717202
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Concerto for Violin in A minor, Op. 53/B. 108 (Critical Edition): Full Orchestra, Solo Strings with Ensemble, Conductor Score

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Description
In 1879, Antonín Dvorák (1841-1904) was commissioned by Simrock, his publisher, to write a violin concerto. He dedicated his CONCERTO FOR VIOLIN in A Minor, Op. 53/B. 108, to Joseph Joachim, who had provided him with valuable advice on how to write the solo part. It premiered in Prague on October 14, 1883, with František Ondrícek as the soloist. Although Joachim remained critical of the work, it has since found a permanent place in the repertoire for its Slavic verve and attractive lyricism. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Vn not inlcuded. Reprint of the critical edition completed by Dvorák expert Otakar Šourek.

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Additional Details
Series: Kalmus Critical Editions
Publisher: Keiser Productions, Inc.
UPC: 605258577276
SKU: 36-A717202
Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Vn not inlcuded

More about this title

About the Composer: Antonín Dvorák

Antonín Dvorák (1841-1904) was a Czech composer who elevated his country's musical identity on the international stage during the Romantic era. Though largely self-taught early in his career, he developed a mastery of orchestration and form that earned him commissions from major European publishers and performances across the continent. His ability to weave folk idioms and Slavic character into large-scale classical structures made him one of the most performed symphonists of his time.

For music educators, Dvorák's output offers exceptional pedagogical range. His concertos and orchestral works reward careful sectional study while maintaining genuine artistic depth; his melodies are singable and memorable, yet his harmonic language and structural logic invite sophisticated analysis. He wrote with instrumental practicality in mind, understanding both the capabilities and limitations of orchestral players.

Why we love this

Dvorák composed a concerto that sits at a sweet spot: the solo part demands technique and musicianship without requiring superhuman virtuosity, while the orchestra contributes rich harmonic color and genuine dialogue rather than mere accompaniment. The Slavic character of the melodic material gives the work immediate personality, and Otakar Šourek's critical edition ensures you're conducting from authoritative sources with performance practice guidance.

What to expect

The concerto opens with restless energy before the solo violin enters with a singing, almost folk-like melody. The emotional landscape shifts between Slavic warmth and moments of introspection, with the orchestra moving between supportive accompaniment and full orchestral voice. Throughout, there's an elegant lyricism that feels personal rather than showy.

Who it's for

Orchestra directors seeking a romantic-era violin concerto with genuine dramatic weight and accessible orchestration. This is ideal for programs featuring an accomplished solo violinist, whether at the university or advanced high school level.

How to get the most out of it

  • Balance the solo line against the orchestra's inner voices rather than burying the soloist under full tuttis. Dvorák's orchestration often supports rather than dominates.
  • Take time establishing the work's lyrical character in rehearsals before addressing technical passages. The concerto lives in its singing quality.
  • Coordinate carefully with your soloist on the cadenza-like passages, particularly where the solo part breaks from the ensemble's meter or phrasing.
  • Shape the second theme material with warmth; these sections define the concerto's emotional arc and benefit from unhurried musical line.

How to use it

This work pairs well with other Dvorák orchestral works or with a program exploring 19th-century nationalism in classical form. It serves equally well as a feature for a chamber orchestra or as part of a larger symphony concert where you want to showcase both soloistic and ensemble playing.

Skills your students will build

  • Balancing solo and ensemble textures in a classical concerto framework
  • Responding to Romantic-era harmonic language and chromatic voice leading
  • Sustaining long melodic phrases across sectional entry points
  • Coordinating with a featured soloist while maintaining orchestral independence
  • Recognizing and executing national musical idioms within European classical forms

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