Martin Helmchen plays Schumann & Dvorak

Anton.n Dvorak wrote his Concerto for Piano and Orchestra in G minor, Op. 33 during the same creative period as his Serenade for Strings in E major, Op. 22 (1875), Symphony No. 5 in F major, Op. 76 (1875), String Quartet in E major, Op. 27 (1876) and his monumental Stabat Mater, Op. 58 (1876 – 1877). And although one would not wish to disparage the first work mentioned in the list – the Serenade for Strings in E major – when compared to the quality of the Piano Concerto, there is a certain imbalance concerning the frequency with which the Serenade is performed. Furthermore, no one can deny that Dvorak’s Op. 33 is indeed one of the most significant compositions to date from his first great creative period. Nevertheless, it is far too seldom heard in concert halls world-wide. (Hopefully, this sentence will not be interpreted as a platitude.) For that is how unjust the music history literature can be: the verdict on works dating from Dvorak’s earlier and middle periods was that they were too “similar to Brahms”. Evidently, the Piano Concerto is not exempt from this collective verdict, despite its very obvious and individual characteristics, which were deeply characteristic of Dvorak.