Cello Concerto in B Minor, Op. 104, B. 191

Antonin Dvorak’s Cello Concerto is a three-movement late work and is widely regarded as one of the greatest concertos written for the instrument. Written between 1894 and 1895 in New York during his tenure at the National Conservatory, its duration is about 40 minutes. It was composed after Dvořák heard Victor Herbert’s Cello Concerto No. 2 in E minor in New York, which convinced him of the cello’s viability as a solo concerto instrument. He dedicated the work to his friend, the Czech cellist Hanuš Wihan, who had long urged him to write a concerto. The Concerto premiere on 19 March 1896 at Queen’s Hall, London; with Leo Stern (English cellist) as y=the soloist, not Wihan. Dvořák himself conducted the Royal Philharmonic Society.
 
Victor Herbert’s Cello Concerto No. 2 in E minor, Op. 30 premiered on March 9, 1894, New York Philharmonic (Herbert as soloist), which demonstrated the cello’s ability to sing brilliantly and project powerfully over a full orchestra, directly countering Dvorak’s prior doubts. Herbert exploited the cello’s high notes effectively, proving they could shine without the nasal or squealing quality Dvořák had disliked, influencing Dvořák to incorporate them extensively (e.g., trills on high B, virtuosic runs). Dvorak was impressed by the solo cello riding triumphantly above the orchestra, where skillful orchestration and idiomatic writing made symphonic dialogue feasible. Brilliant, showy passages combined with vocal singing quality, as in Saint-Saëns-influenced style, convinced Dvořák there was important music to be written for solo cello and orchestra.
 
Dvořák attended at least two performances by Herbert, rushed backstage after one to embrace him, exclaiming “Splendid! Entirely splendid!” to the orchestra. This enthusiasm sparked his decision to write Op. 104 in just three months. Herbert’s middle movement in B minor may have suggested Dvořák’s overall key, with his amalgam of Irish, German, and American elements (echoing Dvořák’s “New World” Symphony, premiered by Herbert’s orchestra) highlighting the cello-orchestra possibilities, turning Dvořák’s skepticism into conviction.
 
Dvorak’s Cello Concerto’s orchestration consisted of a full late-Romantic orchestra with 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle (in the finale), and strings. The Concerto is symphonically conceived; the opening tutti outlines a full exposition before the soloist enters, and there are extended orchestral passages where the cello is silent, emphasizing dialogue rather than sheer virtuoso display. The movements are as follows:

​Allegro (B minor → B major):
The 86-bar orchestral exposition introduces both themes: the main theme (B minor, march-like, with American-period minor seventh) in clarinets, building to grandioso tutti; lyrical second subject (horn solo, vocal character) that Dvořák cherished, writing it “made me tremble all over.” The solo cello enters quasi improvisando in B major (triple-stop chords) and treats the themes with virtuosic passages (octaves, double stops, runs), gentle D major theme, then development modulates to A♭minor, builds to triumphant B major tutti. Then recapitulation and coda demand technical extremes from the cello (endless octaves, trills on high B); closes with grandioso tutti restatement of first theme fortissimo.
 
Adagio ma non troppo (G major):
In this movement, the outer sections vary a serene, profound lyrical theme (G major), evoking melancholy from Dvořák’s New York homesickness and sister-in-law, Josefina’s illness; central section quotes his song “Lasst mich allein” (Op. 82, “Leave me alone”), adding personal elegiac depth. Followed by a cadenza-like quasi improvisation with flute accompaniment, with cello double stops over left-hand pizzicato on open strings, transforming drama, passion, and sweetness; ends with ethereal harmonics pianissimo. Closing with a quasi-chamber texture in places, emphasizing cello-orchestra dialogue.
 
Finale: Allegro moderato – Andante – Allegro vivo (B minor → B major):
A horn introduces main rondo theme (B minor, march-like, piano); builds to dramatic woodwind/string crescendo, cello enters risoluto with modified theme. Followed with episodes: somber A-string melody with 32nd notes; poco meno mosso, dolce with triplets/arpeggios/scales; loud tutti new material; woodwinds/brass restate theme forte; moderato in C major modulates via A–C♯–B♭ to B major. And finalizing in a slow meno mosso recalls material from movements 1 and 2 (cyclical); coda molto ritenuto (slows to ♩=76) then in tempo allegro vivo orchestral close, shifting from darkness to light, anticipating Dvořák’s return home.

References
Banks, J. (2009, March 1). Dvorak Cello Concerto in B Minor, Op. 104. Herbert Cello Concerto No. 2 in E Minor, Op. 30. The Strad.
 
Karttunen, A. (2016, April 6). Finding Dvorak’s Cello Concerto. Karttunen.Org.
 
Predota, G. (2022, March 19). On This Day 19 March: Dvorak’s Cello Concerto in B Minor Was Premiered. Interlude.
 
(2026, February 20). Cello Concerto By Dvorak. In Wikipedia, https://en.wikipedia.org/wiki/Cello_Concerto_(Dvořák)
 
(2026). Concerto for Cello and Orchestra in B Minor, Op. 104, B191. Antonin Dvorak. https://www.antonin-dvorak.cz/en/work/concerto-for-cello-and-orchestra-in-b-minor/
 
(2018, December 2). Dvorak: Cello Concerto in B Minor, Op. 104, B.191. Sin80.Com. https://sin80.com/en/work/dvorak-cello-concerto-op104