The cello concerto genre has produced great works for its soloists. Apart from the best-known works such as the two concertos by Camille Saint-Saëns, there are many other cello concertos in our publishing repertoire, five of which are presented below and which allow their soloists to shine in different ways.

Arthur Honegger : Concerto pour violoncelle et orchestre H72

2 / 2 / 2 / 2 — 2 / 2 / 0 / 1 — timb. - perc. — cordes

1939

17 min

Salabert

In his “Concerto”, Arthur Honegger condenses the French influences of “Les Six” as well as elements of Jazz in his very own way over a playing time of just under 17 minutes. Immediately, almost casually, he concentrates many moods. Even the first chords of the orchestral exposition, a small second motif with simple harmonies, could provide a catchy musical background for an American Hollywood film with our modern ears. The second movement (in a minor key) contains a bluesy melody in which the solo instrument frequently slides in and out of the notes. The third movement, almost in the style of a toccata, also has an “American” feel in the broadest sense. Overall, the work offers wonderful changes of mood from very polytonal to very lyrical, with the orchestra repeatedly set in contrast to the solo instrument. The work was premiered in 1930 by Maurice Maréchal under the direction of Serge Koussevitzky in Boston.

Philippe Gaubert: Poème romanesque Pour violoncelle et orchestre

2 / 2 / 2 / 2 — 2 / 1 / 3 / 0 — timb. - perc. - hpe — cordes (divisée

1932

18 min

Durand

This work, also dedicated to Maurice Maréchal, begins with a timpani roll and a very striking solo cello entrance (G minor chord with major seventh and ninth) which immediately proves to be a catchy tune and permeates the entire movement. All of this has a very romantic feel and is occasionally reminiscent of Tchaikovsky. Philippe Gaubert, who has made a name for himself as a flautist and flute teacher, demonstrates a clear feel for musical effects and ear-catchers in his “Poème romanesque” for cello and orchestra, such as the bell sounds at the beginning of the second movement. 

Joseph Jongen: Concerto pour violoncelle et orchestre

3 / 3 / 2 / 2 — 4 / 2 / 3 / 0 — 2 perc. — cordes (divisées)

1900

35 min

Durand

The orchestral works of the Belgian composer Joseph Jongen are unfortunately very rarely performed nowadays; though his organ works are more present. His “Concerto pour violoncelle et orchestre” has very lyrical melodies in an otherwise relatively formal compositional style. For example, the motif of a concise upbeat fifth leap runs through all the movements. The harmony alternates between Romanticism and passages that are at times very Classical in style. While the cello is mostly lyrical, the orchestra often contrasts with dynamically very expressive and dramatically uplifting arcs of tension, which give the work a very entertaining verve and convey a rousing momentum.

Raynaldo Hahn: Concerto inachevé, orchestration de Marius-François Gaillard

2 / 2 / 2 / 2 — 2 / 2 / 0 / 0 — 5 / 4 / 3 / 2 / 2

1905

ca. 10 min

Salabert

This is an unfinished concerto by the Venezuelan-born composer Raynaldo Hahn, which was revised by Salabert in 1905 and provided with cadenzas by the cellist Fernand Pollain, edited by Marius-François Gaillard. Audio recordings exist only of the version for violoncello and piano, which suggest both a dance-like and intimate work in a minor key. Raynaldo Hahn, known above all for his stage music, demonstrates an unmistakable feel for almost “pop” melodies, even with today's listening habits.

Giorgio F. Ghedini: Musica concertante pour violoncelle et cordes

1962

15 min

Ricordi

An extremely intense solo cello melody, described by the composer as “forte, eso e drammatico”, captures the listener's attention from the very first second. The other instruments only slowly enter as accompaniment, but the cello always remains melodiously in the foreground. The “Musica concertante” by Giorgio F. Ghedini is actually more of an aria for the solo cello over long stretches. The composer was interested in early music throughout his life and often combined stylistic techniques from composers such as Gabrieli and Monteverdi with new music. The musical atmosphere of this work is also partly similar to Georges Enescu's “Prélude à l'unisson”; the limited polyphony and the melody, which often revolves around semitones, make for an impressively intense listening experience that would be very difficult to date if one did not know the composer.