Accompanied by the Amsterdam-based Concertgebouw Kamerorkest (Concertgebouw Chamber Orchestra), the German/French classical cellist Nicolas Altstaedt performs Robert Schumann’s Cello Concerto in A minor, Op. 129. Recorded at the Sunday Morning Concert on May 29, 2016, at the Concertgebouw in Amsterdam. The Sunday Morning Concert is a concert by NPO Radio 4.
Robert Schumann’s Cello Concerto
Robert Schumann’s Cello Concerto in A minor, Op. 129, is a significant work in the cello repertoire, reflecting the composer’s mature style and deep emotional expression. Composed in a remarkably short period in October 1850, shortly after Schumann had taken up his post as the music director in Düsseldorf, the concerto is notable for its lyrical qualities and seamless integration of the soloist and orchestra. Unlike the traditional concerto format, which often highlights virtuosic displays and dramatic exchanges between the soloist and orchestra, Schumann’s concerto emphasizes musical dialogue and thematic development. The work is characterized by its poetic and introspective nature, avoiding overt technical showmanship in favor of subtle, expressive interplay.
Schumann’s unique approach to the concerto form is evident in the continuous flow between sections, creating an almost symphonic unity rather than discrete movements. This approach allows the cello to sing with a voice that is both introspective and conversational, engaging in intimate exchanges with the orchestral accompaniment. The orchestration is rich and supportive, enhancing the lyrical qualities of the cello without overwhelming it.
The concerto was not performed during Schumann’s lifetime, largely due to the unconventional nature of its writing, which did not conform to the virtuosic expectations of solo concertos at the time. It gained recognition and appreciation posthumously, with its first public performance occurring on 9 June 1860, four years after Schumann’s death, at the Leipzig Conservatory in a concert in honor of the 50th anniversary of Schumann’s birth, with Ludwig Ebert as soloist.
The work has since become a beloved staple of the cello repertoire, admired for its emotional depth, melodic beauty, and innovative blending of the solo and orchestral voices. Schumann’s Cello Concerto stands as a testament to his ability to infuse the concerto form with his characteristic lyrical and expressive style, creating a work that resonates deeply with both performers and audiences.
Movements
The piece is in three movements, which follow each other without a pause:
- Nicht zu schnell (A minor)
- Langsam (F major)
- Sehr lebhaft (A minor – A major)
Instrumentation: solo cello, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
1. Nicht zu schnell
The first movement of Robert Schumann’s Cello Concerto is marked “Nicht zu schnell” (“Not too fast”). It begins with a brief orchestral introduction that presents the main theme, characterized by its lyrical and flowing quality. The cello soon enters, taking up this theme with a gentle and expressive voice, setting the tone for the movement’s introspective and conversational nature.
Unlike many concertos of the time, Schumann’s first movement eschews virtuosic display in favor of thematic development and musical dialogue between the soloist and the orchestra. The movement is in a modified sonata form, but Schumann blends the exposition, development, and recapitulation in a continuous flow, avoiding clear demarcations. This seamless structure allows the music to unfold organically, with the cello and orchestra engaging in a fluid exchange of ideas.
The cello’s melodic lines are deeply lyrical, often singing above a rich harmonic accompaniment provided by the orchestra. Schumann’s writing for the cello is particularly notable for its expressive depth, with long, arching phrases that emphasize the instrument’s singing quality. Throughout the movement, the interplay between the soloist and the orchestra is intimate and supportive, with the orchestra often echoing or complementing the cello’s themes.
The movement’s development section explores the main theme and its variations, with the cello weaving intricate patterns and expressive nuances. Schumann’s use of harmony and texture creates a sense of emotional depth and complexity, while the cello’s voice remains central, guiding the musical narrative.
The recapitulation brings back the main themes, now enriched by the development’s exploration, and leads to a gentle and contemplative conclusion. The movement ends quietly, with the cello fading into the orchestral fabric, setting the stage for the contrasting moods of the subsequent movements.
2. Langsam
The second movement of Robert Schumann’s Cello Concerto is marked “Langsam” (“Slowly”). This movement stands in stark contrast to the lyrical and flowing first movement, providing a moment of introspective beauty and calm.
The movement begins with a tender and serene theme introduced by the cello, which is accompanied by the orchestra in a delicate and supportive manner. This theme is characterized by its lyrical simplicity and emotional depth, allowing the cello to sing with a warm and expressive tone. The melody flows gracefully, showcasing Schumann’s gift for creating poignant and heartfelt music.
Throughout the second movement, the interplay between the cello and orchestra is intimate and conversational. The orchestration is sparse and transparent, allowing the cello’s voice to shine through with clarity and purity. The harmonic language is rich yet subtle, enhancing the movement’s reflective and meditative character.
A notable feature of this movement is the beautiful duet between the solo cello and the principal cellist of the orchestra. This dialogue adds a layer of complexity and intimacy, as the two cellos weave their lines together in a seamless and harmonious exchange. The interaction between the soloist and the orchestral cellist creates a chamber music-like atmosphere, emphasizing the personal and introspective nature of the music.
As the movement progresses, the theme is developed and varied, with the cello exploring different expressive nuances and dynamic contrasts. The orchestral accompaniment remains delicate and restrained, providing a gentle backdrop for the soloist’s lyrical exploration.
The second movement concludes with a return to the opening theme, now even more tender and serene. The cello’s final phrases are marked by a sense of tranquility and resolution, leading seamlessly into the energetic and spirited third movement.
3. Sehr lebhaft
The third movement of Robert Schumann’s Cello Concerto is marked “Sehr lebhaft” (“Very lively”). This finale provides a vibrant and energetic conclusion to the concerto, contrasting sharply with the introspective second movement. It is characterized by its lively tempo, rhythmic vitality, and spirited character.
The movement begins with a brisk and jaunty theme introduced by the cello, immediately setting a lively and playful tone. This theme is marked by its rhythmic drive and melodic inventiveness, reflecting Schumann’s ability to blend technical brilliance with expressive musicality. The orchestra quickly joins in, creating a dynamic and buoyant dialogue with the soloist.
Throughout the movement, the cello and orchestra engage in a spirited interplay, with the soloist often taking the lead in presenting and developing the themes. Schumann’s writing for the cello is both virtuosic and lyrical, requiring the soloist to navigate rapid passages, intricate runs, and expressive melodic lines with equal skill. The movement showcases the cello’s agility and range, with the soloist displaying both technical prowess and musical sensitivity.
The rondo form of the movement features a recurring principal theme interspersed with contrasting episodes. These episodes introduce new material and explore different moods, providing variety and maintaining the listener’s interest. Each return of the main theme is greeted with renewed energy and inventiveness, as Schumann skillfully varies its presentation and accompaniment.
One of the notable aspects of the third movement is its playful character. Schumann incorporates rhythmic syncopations, unexpected accents, and dynamic contrasts, adding to the movement’s lively and whimsical nature. The cello often engages in dialogue with different sections of the orchestra, creating a sense of conversation and interaction that enhances the movement’s overall vitality.
The cadenza, placed towards the end of the movement, allows the soloist to shine with a display of technical brilliance and improvisatory flair. Schumann’s cadenza is not just a showcase of virtuosity but also an integral part of the musical narrative, seamlessly leading back to the final statement of the main theme.
The movement concludes with a jubilant and exuberant coda, where the main theme is reiterated with even greater vigor and enthusiasm. The concerto ends on a triumphant note, with the soloist and orchestra bringing the work to a rousing and satisfying close.
Nicolas Altstaedt
Born in 1982, German/French cellist Nicolas Altstaedt is renowned for his creativity and versatility, in his captivating performances of repertoire on both modern and gut strings.
Awarded the Credit Suisse Young Artist Award 2010 he performed the Schumann concerto in a highly acclaimed debut with the Vienna Philharmonic under Gustavo Dudamel at the Lucerne Festival.
Since then he has performed worldwide with orchestras such as the Tonhalle Orchestra, Czech Philharmonic, Tchaikovsky Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, all BBC Symphony Orchestras, Melbourne-and New Zealand Symphony Orchestra, Finnish Radio Symphony Orchestra working with conductors Sir Roger Norrington, Sir Neville Marriner, Vladimir Ashkenazy, Vladimir Fedosseyev, Andrey Boreyko, Fabien Gabel, Thomas Dausgaard, Emmanuel Krivine, Dmitri Slobodeniouk, Lahav Shani, Thomas Hengelbrock, Leif Segerstam, Giovanni Antonini and Andrea Marcon amongst many others.
As a chamber musician Nicolas regularly plays with Janine Jansen, Vilde Frang, Pekka Kuusisto, Antoine Tamestit, Lawrence Power, Jonathan Cohen and the Quatuor Ébène performing regularly at Salzburg Mozart and Summer Festival, Verbier, Utrecht, Stavanger, BBC Proms, Gstaad, Musikfest Bremen, Rheingau and Schleswig-Holstein.
In 2012 Nicolas was chosen by Gidon Kremer to become his successor as the new artistic director of the Lockenhaus Festival and in 2014 Adam Fischer asked him to follow in his footsteps as Artistic Director of the Haydn Philharmonie, with whom he regularly performs at Vienna Konzerthaus, Esterhazy Festival and will tour both China and Japan in the next season.
Nicolas premieres new music and performs with composers like Thomas Ades, Jörg Widmann, Matthias Pintscher, Fazil Say, Bryce Dessner, and Sofia Gubaidulina. He commissioned the pianist/composer Hauschka as part of this season as Artistic Director of the “Viva Cello” Festival in Liestal in 2016 inspired by a film script by Federico Fellini.
To date, his recordings of cello concerti by Joseph Haydn, Robert Schumann, and György Ligeti have been highly acclaimed worldwide. The next releases are all C.Ph.E.Bach concertos with Arcangelo and Jonathan Cohen on Hyperion; Shostakovich and Weinberg concertos with Michal Nesterowicz and DSO Berlin, Strauss’ Don Quixote, and a recital CD with Fazıl Say. Nicolas Altstaedt was a BBC New Generation Artist from 2010 to 2012 and a recipient of the “Borletti Buitoni Trust Fellowship” in 2009. Nicolas Altstaedt plays a Giulio Cesare Gigli cello from Rome around 1760.
Sources
- Cello Concerto (Schumann) on Wikipedia
- Nicolas Altstaedt on Wikipedia
- Cello Concerto, Op. 129 (Schumann, Robert) on the International Music Score Library Project website
- Robert Schumann: Cello Concerto in A minor, Op. 129 on the L.A. Phil website
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