Franz Xaver Neruda (or František) (3 December 1843 - 19 March 1915) was a Czech-Danish cellist and composer of Moravian origin. He was born in Brno into a musical family, the fifth child of the organist of Brno Cathedral Josef Neruda. He grew up in Vienna and first learned violin with father (from 1852) and after the death of his brother Viktor, who played cello, he learned the instrument on his own. With his father and four siblings he performed through Europe in the Neruda Quartet and also as a soloist. In 1859, he studied cello for half a year with Adrien-François Servais.
Once again, one of my most favourite cello concertos. The melodies are so lovely, the form is so clear! I really enjoy listening to this concerto, grazie mille!
Great concerto, lots of variety in texture and mood in such a short time. Rather than overstaying its welcome, it certainly leaves you wanting more. The final scale by the cello before the triumphant orchestral conclusion (a la Dvorak) is sort of a funny thing. Seems so "play it safe" and out of place compared to all the previous writing. Nonetheless, I still thoroughly enjoyed this brief but compelling work.
Beate Altenburg playing with Anhaltische Philharmonie Dessau, conducted by Golo Berg.
Franz Xaver Neruda (or František) (3 December 1843 - 19 March 1915) was a Czech-Danish cellist and composer of Moravian origin. He was born in Brno into a musical family, the fifth child of the organist of Brno Cathedral Josef Neruda. He grew up in Vienna and first learned violin with father (from 1852) and after the death of his brother Viktor, who played cello, he learned the instrument on his own. With his father and four siblings he performed through Europe in the Neruda Quartet and also as a soloist. In 1859, he studied cello for half a year with Adrien-François Servais.
Once again, one of my most favourite cello concertos. The melodies are so lovely, the form is so clear! I really enjoy listening to this concerto, grazie mille!
Great concerto, lots of variety in texture and mood in such a short time. Rather than overstaying its welcome, it certainly leaves you wanting more. The final scale by the cello before the triumphant orchestral conclusion (a la Dvorak) is sort of a funny thing. Seems so "play it safe" and out of place compared to all the previous writing. Nonetheless, I still thoroughly enjoyed this brief but compelling work.