Movements
- Moderato
- Adagio
- Allegro molto
All three movements of this work are written in sonata form, unlike the second concerto, where rondo form is used in the second and third movements. This concerto is more related to Haydn's violin concerti than its follower, holding very close resemblance to the Violin Concerto no. 3 in A major, such as the first movement's etched rhythms, and flowing second themes, a peaceful slow movement, and a brisk finale. Both concerti were composed in the same period of time.
After the orchestral exposition of the first movement, the solo instrument plays the opening theme with full chords that use all four strings. Virtuosity is developed further in the use of rapidly repeating notes, the very high range, and quick contrasts of register. This movement is dominated by a single theme, although the theme itself includes several motives that Haydn develops separately. Near the end, a cadenza is played.
In the slow movement (scored without winds), the cello enters dramatically on a long note, played while the orchestral strings relaunch the opening theme. Two measures later the cello goes on to imitate this melody. Haydn was fond of this gesture: several times in the movement the cello enters on a sustained pitch. This movement, like the first, calls for a cadenza toward the end.
The finale also has the cello enter on a long note, after an extended orchestral introduction. This spirited finale, written in sonata allegro form, represented another chance for Haydn to show what he could do in spinning out a single theme into a series of short motives and a large variety of rapidly changing moods. The virtuosity of the solo instrument is exploited in this movement, especially in passages where the cello alternates rapidly from low to high, so that it seems to be two instruments playing in counterpoint. Haydn uses the sustained-note entrance several times, the final one on a very high, penetrating G.
Haydn's C Major Cello Concerto has become a staple of the cello repertoire, after its 20th century premiere by Miloš Sádlo and the Czechoslovak Radio Symphony Orchestra, conducted by Sir Charles Mackerras, on May 19, 1962. Many famous artists, such as Jacqueline du Pré, Yo-Yo Ma, Maria Kliegel, Truls Mørk and Mstislav Rostropovich, have recorded it.
Read more about this topic: Cello Concerto No. 1 (Haydn)
Famous quotes containing the word movements:
“He sways his head from side to side, with movements like a snake;
And when you think he’s half asleep, he’s always wide awake.”
—T.S. (Thomas Stearns)
“To write well, to have style ... is to paint. The master faculty of style is therefore the visual memory. If a writer does not see what he describes—countrysides and figures, movements and gestures—how could he have a style, that is originality?”
—Rémy De Gourmont (1858–1915)
“The short lesson that comes out of long experience in political agitation is something like this: all the motive power in all of these movements is the instinct of religious feeling. All the obstruction comes from attempting to rely on anything else. Conciliation is the enemy.”
—John Jay Chapman (1862–1933)