Choosing an edition of this celebrated violoncello concerto
has always posed a dilemma: they were based either on the first
edition, which was not given a final authorization by Dvorák, or solely
on the autograph, which does not represent the final version in many
instances. This was the case with the Dvorák Complete Edition of 1955,
for example.
Klaus Döge has critically re-examined all the surviving sources. His
research has yielded a new, text-critical edition that meticulously
evaluates the many, often contradictory readings that create
discrepancies between the autograph and the first edition. In the
conclusions he draws for performance practice, Döge generally gives
priority to the first edition. However, he does not smooth out Dvorák's
special notation, such as Dvorák's publisher Simrock did in his day.
Döge's edition also shows that the musical text is not as
authenticated as has been suggested by previous editions. Variants have
occasionally been notated on a second staff at several passages,
particularly in the solo part.
The piano reduction, which was
prepared by the composer himself, has been edited according to
text-critical criteria for the first time as well. Döge was able to rely
on a renowned performer for this part of his work: Heinrich Schiff, who
arranged the solo part and provides valuable interpretative tips in his
commentaries on performance practice.
