In an interview with John Tibbetts, the cellist Lynn Harrell spoke movingly about the emotional depth of Dvořák's Cello Concerto, adding that it was a ‘unique piece of music’. Few would disagree, but in some ways the extreme popularity of the Concerto – at present over sixty recordings can be listed – has concealed its unusual qualities; while certainly not breeding contempt for the work, its familiarity might seem to obviate the need for close examination since its appeal is evident to any listener. And yet, the closer one looks, the more surprising this Concerto becomes. In form, texture and melodic style it stands apart from the totality of Dvořák's other orchestral works; fascinating too is the way in which the emotional content of the Concerto, felt by so many, can be linked to a personal epiphany with some degree of certainty. This book is offered in part as a guide to the uniqueness of the work, its rich emotional background, the role it filled in Dvořák's working life in America and as a link with the rest of his career.

Charting the history of this remarkable work – the fact that he composed a cello concerto at all is part of the surprise – turned into a process of revelation; a seemingly familiar friend became at times a near stranger and finally, once again, a friend, though certainly one who should not be taken for granted.