Concertino for Viola in C, Op. 7 Cover Image

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

$65.00 USD
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Concertino for Viola in C, Op. 7 Cover Image

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

By Andrei (Heinrich) Fyodorovich Arends

Item: 36-A415702

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Description
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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Additional Details
Series: Kalmus Orchestra Library
Publisher: EDWIN F KALMUS
UPC: 612735731304
SKU: 36-A415702
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 who worked during a period of significant expansion in solo string writing. While not as widely remembered as his contemporaries, Arends contributed meaningfully to the viola repertoire at a time when the instrument desperately needed concert works beyond transcriptions and arrangements.

Arends's career bridged performance and composition; his dual expertise as a string player informed his instrumental writing with genuine idiomatic understanding. The adoption of his Concertino, Op. 7 by the Paris Conservatoire as an examination piece across multiple decades speaks to its pedagogical value and musical substance. His work represents a crucial historical moment when composers began treating the viola as a solo instrument worthy of serious concert attention.

Why we love this

This orchestration transforms an already valuable pedagogical piece into a fully realized concert work that serves multiple programming purposes simultaneously. The orchestral accompaniment provides the soloist with a rich, supportive sonority while offering your orchestra meaningful string writing and collaborative experience. Directors consistently return to this piece because it satisfies advanced student soloists, challenges your ensemble, and fills the recurring need for substantial viola solo literature at the intermediate-to-advanced level.

What to expect

The Concertino unfolds with 19th-century elegance and lyrical warmth. The viola line sings with grace and technical clarity across its range, supported by sympathetic orchestration that never overwhelms the intimate character at the heart of the work. There is a sense of earnest musicianship here, far removed from showiness, with passages of genuine sentiment balanced by moments of gentle virtuosity.

Who it's for

This work suits orchestras fielding an advanced viola soloist and seeking to program meaningful solo repertoire beyond the standard concerto canon. Student violists preparing for upper-level competitions or recitals will find this piece both rewarding to perform and musically substantial. Conductors looking to feature a principal violist or emerging soloist within an orchestral context will appreciate the piece's pedagogical integrity alongside its concert legitimacy.

How to get the most out of it

  • Balance the viola line so it projects clearly over the string section without forcing the tone; the orchestration is transparent enough that aggressive playing sounds harsh rather than confident.
  • Shape the accompaniment's inner voices with attention to voice leading, particularly in the woodwind doublings, so the soloist emerges naturally from the texture.
  • Collaborate closely with your viola soloist on tempo relationships between solo passages and tutti sections; minor adjustments in flexibility help the cadential writing breathe.
  • Mark potential cutoffs and ensemble cues in all string parts well in advance; synchronized releases strengthen the lyrical, cohesive quality the piece demands.

How to use it

Position this piece in a concert that celebrates your string section's depth and features a soloist you want to nurture; it pairs thoughtfully with Romantic-era orchestral works or serves as a dignified centerpiece in a chamber orchestra concert. The work's historical legitimacy and proven track record in advanced study make it an excellent choice for a scholarship recital, solo competition showcase, or special concert dedicated to underrepresented instruments. Consider programming it in the second half of a concert, where its moderate length and focused dramatic arc provide welcome contrast to larger works.

Skills your students will build

  • Sustained lyricism and phrase shaping across extended melodic passages
  • Balance and projection in the presence of full orchestral accompaniment
  • Rhythmic precision and ensemble coordination with complex orchestral textures
  • Navigating the viola's full range with consistent tone quality
  • Collaborative listening and ensemble integration at an advanced level

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