Concerto for Cello No. 87 in A, GT 1.A28 (Leyden): String Orchestra, Solo Strings with Ensemble, Conductor Score

This is Tartini's only known cello concerto, making it a genuinely unusual addition to the string orchestra repertoire. The solo part sits in the middle register of the cello, creating an intimate and understated character that contrasts refreshingly with the more extroverted energy of the ensemble writing. Conductors looking for a work that showcases the cello without demanding virtuosic pyrotechnics will find a sophisticated alternative here.

A graceful and energetic work that moves with the charm and structural clarity of the Baroque, yet remains emotionally restrained. The solo cello inhabits a modest, almost contemplative space within the bustling energy of the ensemble, creating moments of quiet introspection that give the concerto an understated elegance.

Conductors of advanced high school and collegiate string orchestras seeking Baroque repertoire that brings the cello into the spotlight as soloist. This work suits ensembles with a strong principal cellist capable of carrying a solo line with musicality and presence, and where the string section has developed enough technical facility to support the rhythmic and harmonic demands of mid-Baroque orchestral writing.

• Balance the solo cello carefully; the writing sits lower than the typical concerto showpiece, so the cellist will need support from the ensemble but must remain clearly audible in the middle range.
• Approach the opening sections of the solo cello with restraint and subtle phrasing to honor the work's discreet character, saving intensity for moments where Tartini clearly intends it.
• Secure rhythmic clarity in the string sections, as the harpsichord continuo anchors the ensemble. Ensure the keyboard player has a clear view of your baton and locks in with the bass line early.
• Shape the cello line as a singing voice rather than a display vehicle; this concerto rewards lyrical musicality over technical flash.

Program this alongside other Tartini violin concerti to create a unique programming moment that reveals how the composer adapted his style for a different string instrument. Alternatively, use it as a feature work for an ensemble concert celebrating cello repertoire, where its rarity and historical significance will intrigue audiences already familiar with more common Baroque concerto fare.

• Baroque phrasing and articulation conventions in orchestral context
• Ensemble listening and balance with a featured soloist
• Reading continuo parts (harpsichord) and understanding harmonic underpinnings
• Sustaining lyrical ensemble playing while accompanying an intimate solo line
• Interpretation of unfamiliar Baroque string orchestra textures