Vibrato. Choices and challenges in Dvořák’s cello concerto

Abstract: After realising vibrato is such an essential resource in strings and it can affect the quality of sound, I decided to reflect on it. The thesis is divided into two source parts, Vibrato subdivided in definition, terminology, evolution and the four main types and Dvořák subdivided in a brief composer's biography, the evolution in his aesthetics, and the context of composition of the concerto, of which the analysis of its first movement is presented at the end of the chapter. Then in the inquiry I present my proposal and my challenge for the interpretation of vibrato, which takes into account both the historical and stylistic issues of the composer and my own aesthetic criteria plus a comparison of how some soloists perform it.