Concertino for Viola in C, Op. 7 Cover Image

Concertino for Viola in C, Op. 7: Full Orchestra, Solo Strings with Ensemble, Conductor Score

$25.00 USD

Concertino for Viola in C, Op. 7: Full Orchestra, Solo Strings with Ensemble, Conductor Score

Name: Concertino for Viola in C, Op. 7: Full Orchestra, Solo Strings with Ensemble, Conductor Score
Brand: Alfred Music
SKU: 36-A415701
Price: 25.00 USD
Availability: InStock

By Andrei (Heinrich) Fyodorovich Arends

Item: 36-A415701

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Concertino for Viola in C major, Op. 7 was composed in 1886 by Andrei (Heinrich) Fyodorovich Arends (1855-1924), a Russian composer, conductor, and violinist. Originally written for viola and piano, the work fills the period's growing interest in developing solo repertoire for the viola, an instrument lacking in solo literature compared to the violin and cello. The Concertino gained particular historical significance when its piano version was adopted by the Paris Conservatoire as an examination piece (1898, 1901, 1907, 1917, and 1936), helping to establish it as an important pedagogical work for advanced students. This orchestrated version was published circa 1909. Concertino, Op. 7 remains a respected work in the viola repertoire, frequently performed by students and emerging soloists and serving as a bridge between pedagogical studies and the major Romantic viola concertos. Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Viola in set. Reprint edition.

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Series: Kalmus Orchestra Library

Publisher: EDWIN F KALMUS

ISBN13: 979-8-898109-11-0

UPC: 612735731168

SKU: 36-A415701

Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Viola in set

More about this title

About the Composer: Andrei Fyodorovich Arends

Andrei Fyodorovich Arends (1855, 1924) was a Russian composer, conductor, and violinist whose career spanned the latter half of the 19th century. Working during a period when the viola was beginning to emerge from its supporting role in chamber and orchestral music, Arends contributed meaningfully to the instrument's solo repertoire at a time when few substantial works existed for it.

Arends's Concertino, Op. 7 became one of the defining pedagogical works for advanced viola students, validated by its adoption at the Paris Conservatoire as an examination piece across multiple decades. His orchestration of this work demonstrates both orchestral facility and a clear understanding of how to accompany and support a string soloist without obscuring the essential character of the material.

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Why we love this

Programming a viola concertino this substantial opens doors that many orchestras leave closed. Arends writes idiomatically for the viola while maintaining genuine orchestral dialogue, meaning your strings and winds remain engaged rather than reduced to accompaniment. The work's Paris Conservatoire legacy gives it real authority in the eyes of young soloists and serious music students seeking bridging repertoire between etude material and the major Romantic concertos.

What to expect

Lyrical and Romantic in temperament, the Concertino balances elegance with quiet virtuosity. The viola's warm, singing voice moves through graceful passagework and searching melodic lines while the orchestra provides harmonic color and structural support without overwhelming the soloist. There is refinement here rather than extroverted drama, making it feel like chamber music magnified for concert hall dimensions.

Who it's for

Conductors programming solo concerto opportunities for advanced viola students who have moved beyond intermediate repertoire but may not yet be ready for the Hummel or major Romantic concertos. This score serves emerging soloists and advanced community orchestras looking to expand their viola literature beyond the most frequently performed warhorse pieces.

How to get the most out of it

Balance the viola line so it projects clearly without the orchestra drowning it out; the orchestration sits close to the soloist's range, requiring careful dynamic negotiation rather than simple fortissimo playing.
Work the viola soloist and first violins as partners during tutti passages. They often move in parallel or closely related material, and treating them as an ensemble unit strengthens the musical line.
Keep the tempo flowing through the harmonic rhythm rather than the surface note values. Arends' writing can feel uneven if you linger on individual gestures instead of driving toward structural points.
Ensure your timpani player hears the conductor clearly during the quieter sections; the work's orchestration is transparent, and any rhythmic wavering becomes immediately audible.

How to use it

Position this on a concert where you are spotlighting a soloist or celebrating orchestral chamber music. It pairs well on a program with Romantic-era character pieces for orchestra, other concertante works, or as a bridge between a larger symphonic work and a contemporary offering. The work's moderate length and moderate technical demands make it suitable for educational concert series without requiring exceptional principal players.