Hugo Becker Within five years around the turn of the century, three cello concertos were composed, representing two composers steeped in tradition and one innovative one. They were written specifically for Hugo Becker, an influential cellist esteemed as both a teacher and a chamber musician. In Berlin, for example, Becker founded a trio with Carl Flesch and Carl Friedberg. Ernö Dohnányi and Eugen d’Albert composed works for him that were inspired by the past. Dohnányi, a native of Pozsony and a renowned pianist, was influenced by Brahms—this is reflected in his Concert Piece in D major. In contrast, Enescu, originally from Romania, was a talented composer from an early age; his profound understanding of the cello is evident in his Symphonie concertante.
D’Albert, a versatile musician and student of Liszt, composed his only cello concerto in C major, Op. 20. Unusually, the work begins with an oboe theme, followed by a warm cello melody. The woodwinds are central to the orchestral sound and engage in a dialogue with the expressive cello part. A lyrical passage leads to a middle section in F-sharp minor, before the Allegro vivace begins without a break. The finale is characterized by toccata-like sections and dramatic climaxes.
Enescu’s Symphonie concertante, completed in 1901, testifies to his compositional mastery. His lifelong, close connection to music is palpable in this piece. He devoted himself meticulously to the composition and consciously chose not to label it a classical cello concerto. Although the work was initially met with criticism, it later established itself as an innovative masterpiece.
Enescu’s Symphonie concertante, completed in 1901, testifies to his compositional mastery.