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Czech Philharmonic

Saturday, October 27, 2018 8 PM Stern Auditorium / Perelman Stage
Semyon Bychkov by Marco Borggreve, Alisa Weilerstein by Harald Hoffmann / Decca
Hearing a great orchestra perform Dvořák is memorable, but to experience a legendary Czech orchestra play his music is unforgettable. Two Dvořák masterpieces—the warmly expressive Symphony No. 7 and impassioned Cello Concerto—are each imbued with his hallmark lyricism and warm color. Not a single note in is misjudged in a symphony where form and melody come together brilliantly, while the Cello Concerto’s virtuoso passages for the soloist thrill and its elegiac tone touches the heart.

Part of: Concertos Plus

Czech Philharmonic is also performing October 28.


Czech Philharmonic
Semyon Bychkov, Music Director and Chief Conductor
Alisa Weilerstein, Cello



Cello Concerto

Symphony No. 7


Slavonic Dance in E Minor, Op. 72, No. 2

Slavonic Dance in C Major, Op. 46, No. 1

Event Duration

The printed program will last approximately 100 minutes, including one 20-minute intermission.

Pre-Concert Talk

Pre-concert talk at 7 PM with Paul Berry, Adjunct Associate Professor of Music History, Yale University.

At a Glance

This concert presents two sides of Dvořák’s sensibility in two of his greatest works. The opening work is a concerto from his American period; one of his most exuberant creations, it is the last work he produced before leaving New York and going back to Prague after his two-year stint in the New World. With its soulful lyricism, exquisite balancing of cello and orchestra, and open-air grandeur, it is often regarded as the greatest cello concerto in the repertoire. The delicate slow movement is a memorial to Dvořák’s secret love for his sister-in-law, who was dying when he wrote it; the first and last movements have an epic quality that recalls the “New World” Symphony.

Dvořák’s Seventh Symphony—regarded by many critics as his greatest—aspires to be a tragic German work that transcends Bohemian nationalism. Though it presents a new seriousness and ambition, Dvořák’s irrepressible Slavonic sensibility bursts forth repeatedly, especially in folkloric dances and pastoral melodies. As with the Cello Concerto, the symphony, though in a minor key, ends with a blazing major-key coda.

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