68 (1891) were written with Wihan in mind, and Dvořák dedicated the Rondo, op. 90 (1891) and the cello transcription of Silent Woods, op. The beguiling cello part of the Dumky Trio, op. When the two met, Dvořák was fourteen years Wihan’s senior nevertheless, the men formed a close friendship that would inspire the writing of Dvořák’s most important cello compositions. Hanuš Wihan, Antonín Dvořák, and Ferdinand Lachner (private collection) But by far the most significant alliance, and the one that would assure Wihan an enduring legacy, was with the composer Antonín Dvořák. The young Richard Strauss dedicated his Cello Sonata, op. In his early professional years, Wihan forged close collaborative relationships with leading conductors and composers such as Franz Liszt and Richard Wagner. By eighteen, Wihan was a professor at the Mozarteum in Salzburg, and a series of appointments in major European orchestras followed soon thereafter. At thirteen, he entered the Prague Conservatory, where he was taught by František Hegenbarth, before moving to St. Hanuš Wihan was born on Jin Politz, a small Bohemian town first settled in the 13th century. The cello, he showed, could do so with virtuosity, charisma, and with a heroic, commanding presence.ĭvořák dedicated his monumental B minor Cello Concerto to the Czech cellist Hanuš Wihan whose cello, a rare and important instrument by Bartolomeo Tassini, is offered by Tarisio by Private Sale.īartolomeo Tassini, 1756 (Tarisio) More photos 120 (1894) went a step further: with it he demonstrated that the cello could sit at the front of the stage and cut through the roar of a modern orchestra just as well as a violin. But Dvořák’s epic Cello Concerto in B minor op. Tchaikovsky’s Rococo Variations (1877) and Saint-Saëns’s first Cello Concerto (1872) were ground-breaking works. 129 (1850) was never played publicly during the composer’s lifetime and remained virtually unknown for many decades. Beethoven, Brahms, Mendelssohn, and Schubert all wrote superb compositions for cello – sonatas, chamber works, and concertos with cello as a co-soloist – but none composed a solo cello concerto. But during the late Romantic period, composers, for the most part, weren’t writing concertos for solo cello instead they favored the violin, which was regarded as a more suitable instrument for a solo performance with orchestra. Of course, this was not the first successful concerto to feature the cello as a virtuosic solo instrument that had already taken place in the Baroque and early Classical periods. It is difficult to overstate the importance of Dvořák’s B minor Cello Concerto in the history of the cello repertoire. Historical context, expert commentary, rare images and original recordings
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