Cello Concerto No. 1 in A minor

Camille Saint-Saëns composed his Cello Concerto No. 1 in A minor, op. 33 in 1872, when the composer was age 37. He wrote this work for the Belgian cellist, viola de gamba player and instrument maker Auguste Tolbeque. Tolbeque was part of a distinguished family of musicians closely associated with the Société des Concerts du Conservatoire, France’s leading concert society. The concerto was first performed on January 19, 1873 at a conservatoire concert with Tolbeque as soloist. This was considered a mark of Saint-Saëns' growing acceptance by the French musical establishment.

Sir Donald Francis Tovey later wrote "Here, for once, is a violoncello concerto in which the solo instrument displays every register without the slightest difficulty in penetrating the orchestra." Many composers, including Shostakovich and Rachmaninoff, considered this concerto to be the greatest of all cello concertos.

Structure and Overview

Saint-Saëns broke with convention in writing the First Concerto. Instead of using the normal three-movement concerto form, he structured the piece in one continuous movement. This single movement contains three distinct sections. Those sections, tightly-structured, share interrelated ideas. Saint-Saëns' contact with Franz Liszt while serving as organist at the Église de la Madeleine may have led him to use cyclic form in his orchestral works. The concerto shares the same key, A minor, as Robert Schumann's cello concerto.

The concerto also begins unusually. Instead of the traditional orchestral introduction, the piece begins with one short chord from the orchestra. The cello follows, stating the main motif. Soon, countermelodies flow from both the orchestra and soloist, at times the two playfully "calling and answering" each other. This turbulent opening movement leads into a brief but highly original minuet, in which the strings are muted, and which contains a cello cadenza. A restatement of the opening material from the first movement opens the finale. While Saint-Saens uses the finale mainly as a recapitulation of earlier material, he concludes it with the introduction of an entirely new idea for the cello.

Saint-Saëns very often uses the solo cello here as a declamatory instrument. This keeps the soloist in the dramatic and musical foreground, the orchestra offering a shimmering backdrop. The music is tremendously demanding for soloists, especially in the fast third movement. This difficulty has not stopped the concerto from becoming a favourite of the great virtuoso cellists.

Media

This recording is by the Skidmore College Orchestra and is courtesy of Musopen.

External links

• Cello Concerto No.1 in a minor, Op.33: Free scores at the International Music Score Library Project.