Analysis
The concerto is considered one of his more daring and adventurous works, due to the length of the exposition and the transcendental quality of the opening. On the autographed score, Schumann gave the title Konzertstück (concert piece) rather than Konzert (concerto), which suggested he intended to depart from the traditional conventions of a concerto from the very beginning.
The first movement of the concerto begins with a very short orchestral introduction followed by the presentation of the main theme by the soloist, which in turn is followed by a short tutti that leads into a lyrical melody.
The second movement is a very short lyrical movement in which the soloist occasionally uses double stops. It also features a descending fifth, a gesture used throughout the piece as a signal and homage to his wife, Clara Schumann. Also, the soloist has a duet with the principal cellist, an unusual texture and one that could be interpreted as a conversation between Clara and the composer.
The third movement is a lively rondo which contrasts with the first two movements. At the end of the movement, there is an accompanied in-tempo cadenza, something unprecedented in Schumann's day, that leads into the final coda. In recent years, some cellists have chosen instead to include their own unaccompanied cadenza at this point, although there is no indication that Schumann wished for one.
Schumann famously abhorred receiving applause between movements. As a result, there are no breaks between any of the movements in the concerto. As for the concerto's virtuosity, Schumann earlier in his life declared "I cannot write a concerto for the virtuosos. I must try for something else"; in the cello concerto, while exploiting the instrument to the fullest, the writing for the soloist generally avoids virtuosic display prominent in many concertos of the time.
Read more about this topic: Cello Concerto (Schumann)
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