Concerto for Cello No. 1 in C, Hob.VIIb:1 Cover Image

Concerto for Cello No. 1 in C, Hob.VIIb:1: Full Orchestra, Solo Strings with Ensemble, SS

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Concerto for Cello No. 1 in C, Hob.VIIb:1 Cover Image
Concerto for Cello No. 1 in C, Hob.VIIb:1: Full Orchestra, Solo Strings with Ensemble, SS

Concerto for Cello No. 1 in C, Hob.VIIb:1: Full Orchestra, Solo Strings with Ensemble, SS

By Franz Joseph Haydn, ed./arr. by Oldrich Pulkert/ Karel Solc/ Milos Sadlo

Item: 36-S002101
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Description
Franz Joseph Haydn's (1732-1809) CONCERTO FOR CELLO in C, Hob. VIIb: 1 is a rare instance where a masterpiece was lost, in this case for almost 200 years, before being rediscovered. The manuscript was discovered by Oldrich Pulkert at the Czech National Library in Prague among the Radenín Castle collection. The work was composed between 1761 and 1765 for his longtime friend Joseph Franz Weigl, then the principal cellist in the Esterházy Orchestra. As the refinements of the Classical concerto were yet to be established by Mozart, this concerto reflects the Baroque ritornello form. This edition is completed by Oldrich Pulkert and Karel Šolc, with the solo cello part being edited by Miloš Sádlo, who also gave the 20th century premiere of the work. Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Cello. Reprint edition. Study score.

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Additional Details
Series: Kalmus Study Score Series
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563717-8
ISBN13: 979-889-563-7173
UPC: 612735640484
SKU: 36-S002101
Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Cello

More about this title

About the Composer: Franz Joseph Haydn

Franz Joseph Haydn (1732-1809) spent nearly three decades as the kapellmeister for the Esterházy family, one of Europe's most important musical patrons. Working in relative isolation at the Esterházy court, Haydn developed the symphonic and concerto forms that would define the Classical era, experimenting freely with structure and orchestration before the conventions were codified by his younger contemporaries.

Haydn's prolific output across every genre gave him the freedom to innovate without the pressure of established formal rules. His generosity with musicians in the court orchestra, combined with his technical mastery, resulted in works that showcase both virtuosic brilliance and deep musicianship. He remained a central figure in European music education and practice well into the 19th century.

Why we love this

This concerto arrived in the modern concert repertoire only in the 20th century, making it a genuine discovery rather than a familiar warhorse. The Baroque ritornello structure gives it a distinctive character compared to the later Classical concerto mold, offering conductors and soloists something architecturally fresh to explore. Haydn composed this work for a specific cellist he knew well, and that intimacy shows in writing that balances the soloist's display with genuine orchestral partnership.

What to expect

The music has an elegant, chamber-like quality despite the full orchestra. The solo cello sings with both intimacy and brilliance, supported by bright oboes and a quietly energetic string section that ebbs and flows around the soloist's declarations. There is less dramatic urgency than in later Mozart concertos and more of a conversational, almost conversational exchange between soloist and ensemble.

Who it's for

Conductors building a Haydn cycle or exploring lesser-known corners of the Classical concerto repertoire will find this work rewarding. College and advanced high school orchestras with strong cellists can deliver this piece with the security and sophistication it deserves.

How to get the most out of it

  • Honor the ritornello form by ensuring the orchestra's tutti sections have clear weight and presence. This is not backdrop for the soloist; these passages are structural cornerstones.
  • Coordinate closely with the solo cellist during the transitions between solo and tutti passages. The baroque sensibility means these shifts happen directly rather than through gradual transitions.
  • Balance the two oboes carefully in the accompaniment figures. They carry significant thematic material and must cut through without drowning the solo cello.
  • Allow space for the solo cello to breathe in its passage work. The virtuosity in this part was written for an accomplished performer, and rushing the technical sections undermines the craftsmanship.

How to use it

Pair this with other Haydn orchestral works to showcase his evolution as an orchestrator and formal innovator. It serves equally well as a season centerpiece highlighting your principal cellist or as part of a concert theme exploring Baroque-influenced Classical forms. The work's relative rarity makes it an excellent choice for educational outreach programs focused on musical archaeology.

Skills your students will build

  • Following ritornello form and recognizing thematic returns across orchestral sections
  • Coordinating ensemble precision in quick shifts between tutti and solo textures
  • Balancing transparent orchestration where multiple instrumental lines remain audible
  • Responding to the demands of supporting a virtuosic soloist while maintaining ensemble independence

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