Sentimental Work: cellist Astrid Schween on Dvořák’s Waldesruhe

I was very young when I heard Dvořák’s Waldesruhe for the first time. It was Jacqueline du Pré’s 1970 recording with the Chicago Symphony Orchestra under Daniel Barenboim. I was fascinated by it from the start: Dvořák masterfully conjures a sense of wonder and calm; the title suggests ‘the silence of the woods’ but the Czech sub-title Klid has many connotations: serenity, peacefulness or tranquillity. As a kid, I don’t think I had ever heard a piece that was so atmospheric; instantly transporting me elsewhere. I was delighted by the gorgeous interactions with the flute, heartwarming duos and occasional testy dialogues with the orchestra…