b'Program Notescontinuedbassoon and oboe. In 1893, a newspaper interview quoted Dvok as saying "I found that the music of the Negroes and of the Indians was practically identical, and that "the music of the two races bore a remarkable similarity to the music of Scotland." It is for this reason that I have also quoted the Negro Spiritual Heres One whose melody is heard in the flute with a particular Indian/Indigenous coloring or sorrow. Soon after this, the opening material returns, followed by reminiscences of the Ulama ballgame in which music representing memories of unbridled freedom and exhilaration continues to grow into an explosive end.~James Lee IIIInstrumentationtwo flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, suspended cymbal, crash cymbal, egg shaker, Tom-Tom, glass wind chime, Tam-tam, temple blocks, sleigh bells, xylophone, maracas, bass drum, tenor drum, timbales, woodblocks, and stringsDuration13 minutesAntonn Dvok(1841-1904)Cello Concerto in B Minor, Op. 104Composed 1893Dvoks time in the United States produced some of his most beloved works, including his String Quartet No. 12 in F minor, Op. 96 American, Symphony No. 9 in E minor, From the New World and, not least of all, his Cello Concerto in B Minor, Op. 104. For years, Dvok had been encouraged to write a cello concerto by his friend Hanu Wihan. Dvok never really considered doing so as he did not see the cello as a worthy enough instrument, citing the instruments nasal timbre in the upper register and grumbling quality in the lower. This changed after attending a concert at the New York Philharmonic where Victor Herbert, principal cellist of the New York Metropolitan Opera Orchestra, appeared as soloist playing his own Cello Concerto No. 2. Dvok was highly impressed and so greatly inspired by the work that he finally set out to write his own princetonsymphony.org/ 14/ princetonfestival.org'