Şcoala românească de violoncel se confi gurează în a doua jumătate a secolului XIX într-un context socio-cultural de modernizare prin asimilarea infl uenţelor vestice. Numele primilor violoncelişti români, consideraţi fondatorii şcolii naţionale şi ai repertoriului românesc de violoncel, Constantin Dimitrescu şi Dimitrie Dinicu, este legat de nou instituita Societate Filarmonică Română, de primele instituţii muzical-didactice româneşti. Afi rmându-se ca reprezentanţi ai tradiţiilor vestice de interpretare, ei au promovat metodele şi tehnicile de violoncel, deprinse la Viena şi Paris. Activitatea polivalentă a acestor personalităţi a adus un aport substanţial în evoluţia, popularizarea muzicii profesioniste culte, la educarea unor generaţii importante de interpreţi, la crearea primelor lucrări de anvergură româneşti pentru violoncelul-solist, precum sunt trei concerte pentru violoncel şi orchestră de Constantin Dimitrescu. Aparţinând unei generaţii mai tinere de violoncelişti români, Serafi m Antropov, originar din Chişinău, Republica Moldova şi discipol al Conservatorului „Unirea” din Chişinăul interbelic, s-a impus în istoria şcolii româneşti de violoncel atât prin minunatul său talent dăscălicesc cât şi prin activitatea complexă de interpret-solist, organizator al vieţii de concerte din ţară.

Th e Romanian cello school was formed during the second half of the 19th century in a context of socio-cultural modernization and transformation by assimilating the western infl uences. Th e names of the fi rst Romanian cellists, considered to be the founders of the national cello school and of the Romanian cello repertoire, Constantin Dimitrescu and Dimitrie Dinicu are related to the newly established Romanian Philharmonic Society, fi rst Romanian symphonic orchestra and to the fi rst Romanian institutions of music education. Asserting themselves as representatives of Western interpretative traditions, they promoted cello methods and techniques they learned in Vienna and Paris. Th e versatile activity of these personalities brought a substantial contribution to the evolution, popularization of academic music, to the education of future generations of performers, to the creation of the fi rst major Romanian works for cello as a soloist instrument like the three concertos for cello and orchestra by Constantin Dimitrescu. Belonging to a younger generation of Romanian cellists, Serafi m Antropov, originally from Chisinau, the Republic of Moldova and a disciple of the “Unirea” Conservatory in Chisinau between the two World Wars, established himself in the history of the Romanian cello school both by his wonderful teaching talent and by his complex activity as soloist and concert organiz