Cello Concertos

[KevinP]

Despite listening to classical music since the 80s, I've only recently warmed to the concerto in general, the issue being that showy, virtuosic playing evokes in me either a negative or apathetic reaction. I only need a few seconds to tell someone spent all their waking hours practicing, after which the point is belaboured.

Anyway, having recently both warmed to the genre and taken up the cello, I've naturally listened to more cello concerti than before. (The latter is of limited relevance. Anyone who can perform a concerto even badly is so far beyond me that the fact that I'm playing same instrument has no relevance.)

Three that I really like, only one of which has been mentioned so far, are Ibert's, Martinu's and Honegger's. That these are both shorter pieces (some explicitly 'concertino') is probably a reflection on me, but they're regardless very enjoyable pieces.

Now here's one I didn't like. Friedrich Gulda's. I listened to the samples of the first movement and found it absolutely wonderful. It was jazz--not even third stream, but pure jazz. A jazz cello concerto is something I had to have. Unfortunately, only the first movement was jazz. It would still be possible for me to enjoy the rest of the work, but the problem was that each movement was so completely different from each other that the whole thing fell apart. I tried to view it as a tour of different genres but that was a generosity I could not sustain.

[Karl Henning]

Yes: Martinů!

[Wanderer]

Like Gurn, I'm very fond of Boccherini. My other top choices among concertante works for cello and orchestra are the cello concerti by Dvořák and Korngold, as well as R.Strauss' Don Quixote.

[vandermolen]

Also, Myaskovsky. @vandermolen

Of course!

[Florestan]

Like Gurn, I'm very fond of Boccherini. My other top choices among concertante works for cello and orchestra are the cello concerti by Dvořák and Korngold, as well as R.Strauss' Don Quixote.

Boccherini is in a league of his own with respect to cello concertos, certainly.

Generally speaking, I find him the only one who can hold a candle to Schubert when it comes to making a major key sound as bittersweet as a minor one.

[André]

Listening to Gavin Bryars's cello concerto 'Farewell to Philosophy' (comp. 1995) as I write. A 35-minute work in 7movements (unbroken), firmly new agey in feeling. Late Kancheli, Silvestrov or Rautavaara might be invoked to provide a comparison. Beautiful, not generic or derivative, it speaks to the heart. I had not listened to this in at least a decade but remembered having been impressed by this work.

Give this a try if you can locate a copy or streaming.

[pjme]

I'm sure I've mentioned the following works before - anyway for lovers of late Romantic, very melodious and very tonal music Lodewijk de Vocht's (1956 !) celloconcerto could well be a treat:

Godfried Devreese's Celloconcertino is another (ca 15 mins) melodious gem. Written in 1930, shortly after Devreese return from the Netherlands (violist of the Concertgebouw orchestra and Concertgebouw string quartet), he scored it for an unusual (but impractical) combination of 15 winds, celesta, harp, 6 double basses and tuned drums. He rescored it in 1940 for "small orchestra". In 1992, his son Frederic Devreese reworked it again for an ensemble of  3 flutes/piccolo, oboe, 2 clarinets, 2 horns, harp and strings. That version was recorded in 1993 with Viviane Spanoghe and soloists from the BRTN PhO/Frederic Devreese.

[pjme]

And an "exotic bonbon" to top it off

Inspired by José-Maria de Heredia - be prepared....

La chevelure éparse et la gorge meurtrie,
Irritant par les pleurs l'ivresse de leurs sens,
Les femmes de Byblos, en lugubres accents,
Mènent la funéraire et lente théorie.

Car sur le lit jonché d'anémone fleurie
Où la Mort avait clos ses longs yeux languissants,
Repose, parfumé d'aromate et d'encens,
Le jeune homme adoré des vierges de Syrie.

Jusqu'à l'aurore ainsi le chœur s'est lamenté,
Mais voici qu'il s'éveille à l'appel d'Astarté,
L'Epoux mystérieux que le cinname arrose.

Il est ressuscité, l'antique adolescent !
Et le ciel tout en fleur semble une immense rose
Qu'un Adonis céleste a teinte de son sang.
------------------------------------------------------

With disheveled hair and bruised throats,
Irritating with tears the intoxication of their senses,
The women of Byblos, in mournful tones,
Lead the slow funeral procession.

For on the bed strewn with flowering anemone
Where Death had closed its long languishing eyes,
Rests, perfumed with aromatics and incense,
The young man adored by the virgins of Syria.

Thus until dawn the choir has lamented,
But now he awakens at the call of Astarte,
The mysterious Husband sprinkled with cinnamon.

He is resurrected, the ancient adolescent!
And the sky all in bloom seems an immense rose
That a celestial Adonis has stained with his blood.

[pjme]

very (too?) sweet....

[San Antone]

Two cello concertante works from two of my favorite composers:

Bernstein: Three Meditations from "Mass", for Violoncello and Orchestra (1977)

Golijov: Azul

[Luke]

Listening to Gavin Bryars's cello concerto 'Farewell to Philosophy' (comp. 1995) as I write. A 35-minute work in 7movements (unbroken), firmly new agey in feeling. Late Kancheli, Silvestrov or Rautavaara might be invoked to provide a comparison. Beautiful, not generic or derivative, it speaks to the heart. I had not listened to this in at least a decade but remembered having been impressed by this work.

Give this a try if you can locate a copy or streaming.

Thanks for mentioning this one - Bryars is a composer who means a lot to me. As with practically all Bryars, the concerto (my favourite among his concerti) is slow, meditative, meandering, and it sounds exquisite. Bryars doesn't really sound like anyone else, and his style is instantly recognisable. If you like his style you'll love this.

[Karl Henning]

Thanks for mentioning this one - Bryars is a composer who means a lot to me. As with practically all Bryars, the concerto (my favourite among his concerti) is slow, meditative, meandering, and it sounds exquisite. Bryars doesn't really sound like anyone else, and his style is instantly recognisable. If you like his style you'll love this.

Thanks, @André & @Luke ... found it on YT.

[LKB]

I'm fond of the Elgar, Dvorak and Haydn C Major Concerti. While I've been aware of others' endeavors for years, I've never felt compelled to invest the needed time to become familiar with them, possibly because:

1) Taken in toto, the three mentioned pretty much supply everything l want from the genre. 

2) My true preference is for Cello alone. I would assert that Bach's six Suites not only represent the summit of solo Cello literature, but in their balance, beauty and profundity are as lofty an achievement as anything else Bach produced.

The above is not put forth with any adversarial intent, but merely as an explanation ( excuse? ) for my relative ignorance regarding the subject.

So if anyone can suggest a Cello Concerto which they believe I'd find truly worthwhile - one which they'd be comfortable ranking among those cited above - please, suggest away. 

[Luke]

Maybe try the Schumann for a start?

[DavidW]

2) My true preference is for Cello alone.

As for cello concertos, Shostakovich's cello concertos and Britten and Prokofiev's cello symphonies immediately spring to mind.

[Karl Henning]

Bach's six Suites not only represent the summit of solo Cello literature, but in their balance, beauty and profundity are as lofty an achievement as anything else Bach produced.

These six suites are a cultural milestone, no question.

Maybe try the Schumann for a start?

And, mayhap in Shostakovich's scoring:

[Karl Henning]

Yes!

[NumberSix]

What about the Yo-Yo Ma Bach Suites? He recorded them in 1983 and again in 2018.

Is the newer edition the better one?

I will check out both, but I am curious what's the general opinion. . .

[Iota]

This recording of Britten's Cello Symphony (essentially a cello concerto) knocked me out fairly recently, if you're looking for recommendations.

[LKB]

What about the Yo-Yo Ma Bach Suites? He recorded them in 1983 and again in 2018.

Is the newer edition the better one?

I will check out both, but I am curious what's the general opinion. . .

In the Suites, I'm strongly loyal to both Fournier on DG Arkive and Rostropovich on EMI/Warner. I think I've heard the earlier Ma, but I'm afraid it didn't leave much of an impression.

Neither did Casals, whose performances of these works are widely regarded as groundbreaking. But I suspect that my own limitations are at play there, and hopefully there's still a chance for me to overcome myself and reap the rewards available in his recordings.