- published: 05 May 2013
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A cello concerto (sometimes called a violoncello concerto) is a concerto for solo cello with orchestra or, very occasionally, smaller groups of instruments.
These pieces have been written since the Baroque era if not earlier. However, unlike the violin, the cello had to face harsh competition from the older, well-established viola da gamba. As a result, few important cello concertos were written before the 19th century – with the notable exceptions of those by Vivaldi, C.P.E. Bach, Haydn and Boccherini. Its full recognition as a solo instrument came during the Romantic era with the concertos of Schumann, Saint-Saëns and Dvořák. From then on, cello concertos have become more and more frequent. Twentieth century composers have made the cello a standard concerto instrument, along with the already-rooted piano and violin concertos; among the most notable concertos of the first half of the century are those of Elgar, Prokofiev, Barber and Hindemith. Most post-World War II composers (Shostakovich, Ligeti, Britten, Dutilleux, Lutoslawski and Penderecki among others) have written at least one.
Sir Edward William Elgar, 1st Baronet OM, GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory. The first of his Pomp and Circumstance Marches (1901) is well known in the English-speaking world.
Gautier Capuçon | Dvořák: Cello Concerto
L. Boccherini - Complete Cello Concertos, Julius Berger
Truls Mørk: Dvorák Cello Concerto in B minor Op. 104, 1-3 mvt. - 26.01.11
Vivaldi - Complete Cello Concertos, Raphael Wallfisch
© Edward Elgar's Cello Concerto (FULL) in E minor op 85-Sol Gabetta & Danmarks Radio
Jacqueline du Pré, Dvořák Cello Concerto in B minor op.104
Elgar:Cello Concerto /Cello:Yo-Yo Ma
Jacqueline du Pre plays Schumann's Cello Concerto in A minor (Op.129) (FULL)
Yo-Yo Ma: Elgar Cello Concerto, 1st mvmt
Mischa Maisky plays Antonín Dvořák's Cello Concerto in B minor, Op. 104, B. 191
Schumann: Cello concerto, op.129 - Michael Schonwandt - Andreas Brantelid - HD - Live concert
D. Shostakovich - Cello Concerto No. 1 in E-flat major, Opus 107 (Live)
Antonin Dvorak - Cello Concerto (Mstislav Rostropovich / Gómez Martínez)
Joseph Haydn - Cello Concerto No. 1 (Mstislav Rostropovich)