The inspirational and touching concerto for cello and orchestra in A minor by Robert Schumann holds a unique and special place in the repertoire of the modern cellist. This concerto may be played in class with the purpose of refinement of performance skills without being
performed on stage. However, it proved to be very difficult for any gifted musician to reach the
level of perfection necessary for the concerto to be actually performed on stage.
The Cello Concerto (op. 129) was written by R. Schumann in October 1850 in
Dusseldorf. It was first published in August 1854 by Breitkopf und Hertel, the cello part (which
was submitted to the editor) was anonymous and formed the basis of all subsequent publications,
including the academic edition of 1883. The concerto had never been performed during the author’s lifetime and had never gained widespread appreciation due to technical difficulties of its
performance.
The mastering process for the future performer requires a detailed analysis of the musical material. Robert Schumann recommended considering four points when working on the piece: first point is the musical form – complete form of the piece, its parts, periods, phrases; second is the musical composition – defining the style, harmony, melody, texture; third is defining specifics of the composer’s main idea; the last point is that of the artistic and performing spirit reigning over the form, musical material and idea.
Written score sheet music conveys the composer's intention and his logic of creating a musical form and thus becomes every performer’s special consideration. The complex process of understanding the sheet music as a special sign system is determined by the personality and
artistic aspirations of the performer, by his talent, temperament, general culture, knowledge in
the field of art history, musical theoretical and technical skills. Musical notation, which usually ensures an accurate guidance for the performer, is at the same time extremely limited as it can only indicate a certain number of composer’s directives. Music recorded on paper and the sound
created following the record are two planes which do not intercross. The link between the two develops in the artist's imagination in the process of working on his interpretation of the work. The artistic interpretation is unique in each particular case and is conditioned by the personal will
of the performer.
Accuracy in following the author's text, a necessary requirement, is too often considered to be the „word per word reading” of the musical text and may sometimes restrict the artist’s
creativity, whereas one should look upon the musical text with the view to committing to the idea, musical content, and emotions of the composer. The desire to achieve an academically accurate, objectively correct playing often turns it into dull and spiritless performance.
There is a large number of statements from outstanding composers and performers about
the meaning of the so-called „connotation” of the musical work, about creative interpretation of
its idea, its emotional and ideological content. The famous musician Pablo Casals recognized
the performance devoid of: „... expressiveness and life” to be the greatest” insult to art”. Since music notation is a very imperfect way of expressing the musical idea, how could the great
masters give all the necessary instructions? Does Schumann himself, or any other composer, give them all?”.
Intelligence and the constructive powers of the brain are now valued far more than the power of the „actual perception”, which was highly respected only a short while ago. The increasingly larger role of science in our lives along with the technological progress heavily influenced the perception and the way modern musicians think. Nevertheless, of all the arts,
music couldn’t be farther from distant reflections. The absence of emotions in the performance, impartiality, passivity does not adorn the performer, whose repertoire includes a work of
romantic style – the cello concerto by R. Schumann.