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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.


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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