How to Perform the Cello Part In Dvorak's Serenade No. 1

Dvorak's Serenade No. 1 offers a challenging cello part that requires attention to both melody and counter-melody. Dvorak often used the cello to span the range of three and sometimes four octaves. This forces the cello player to play with a relaxed bowing arm and precise intonation. Because the cello part is a mix of bowed music and pizzicato, balance is the most important musical quality to pay attention to when performing this piece.

Difficulty: Moderately Challenging

Instructions

1. Begin to play. The first section features the cello in dialog with the second violins. Listen to how the violins play their statement. In bars two and four, the cello answers what the violins have stated. Play your version with varied phrasing. Your statement is two octaves lower than that of the violins so the tone will be substantially darker. Play with medium pressure on the strings.

2. Proceed to play through to section "B." The cello has a similar statement to the opening four bars here. Phrase it differently than before and watch the conductor for help on this matter. Most likely he will either take this similar passage faster or slower than at the beginning of the piece. If the conductor takes it faster, you will need to increase the frequency of your bowing arm. If the tempo is slower, elevate your bowing arm so that you can achieve a longer down- and up-bow. Play each half note in this section with heavy vibrato in order to warm up the low pitches.

3. Approach section "C" with great attention to pitch. The octave jumps and perfect fifth intervals Dvorak orchestrated present a unique challenge to the cello. Each time you play a perfect fifth away from your stand partner, play the pitch somewhat flat. This will fix the most common intonation problems that come from this interval. Play the octave jumps from G2 to G3 with a light bowing approach. If you put too much pressure on the strings when depressing G2, you may drag in tempo by the time you get to G3. Play all octave jumps lightly in this section.

4. Play the final section and coda with great passion. Focus on wide bow movements and varying degrees of dynamic control. Every time there is a passage of eight or more eighth notes in a row, play each proceeding note with more pressure and volume than the last. This will increase the intensity coming from the sound chamber and the velocity the string vibrates at. Do not play the final section and coda with strict tempo. Stretch the end of each two-bar phrase. The last four bars should slow down dramatically. Connect E2 and A2 with a smooth bow movement and listen for intonation with the bass section. The last bar of the work is a double stop. Play both E2 and B3 at the same time and fade down to a pianissimo dynamic before raising the bow off of the string.