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

Tartini's cello concerto offers orchestras a rare opportunity to program a legitimate Baroque concerto grosso that challenges soloists without overwhelming ensemble musicians. The solo part moves through the middle register with a forthright but lyrical quality that feels more intimate than showy, making it accessible for advanced student soloists while the full string texture keeps the ensemble engaged throughout. This is substantially more rewarding teaching material than Bach's typical arrangements, with genuine period style and architectural interest.

Energetic and courtly without pretense. The solo cello speaks with a gentle, almost reflective quality as it winds through the string ensemble, creating a sense of intimate conversation rather than performance spectacle. There is elegance and clarity in the orchestral writing, with moments where the full strings surge forward before drawing back to let the soloist breathe.

String orchestras with an advanced cello soloist and the ability to field a harpsichord continuo. This works well for advanced high school ensembles or university-level string orchestras seeking period-appropriate repertoire that showcases a strong cellist without requiring specialized or virtuosic techniques.

• Balance the harpsichord continuo clearly enough to support harmonic grounding without overwhelming the upper strings; the basso continuo line anchors the form across all three movements.
• Shape the solo cello's phrasing with attention to the instrument's natural resonance in its middle range rather than pushing for dramatic projection; Tartini's writing here celebrates the warmth of the voice rather than virtuosic display.
• Bring out the dialogue between solo and ensemble sections by adjusting string section dynamics slightly backward when the cello enters; the shift should feel like a conversation, not a spotlight effect.
• Maintain rhythmic clarity in the ensemble parts during the faster passages so the soloist can breathe expressively without the group rushing; this supports the Allegro movements' energetic character while preserving Baroque articulation.

Program this as the centerpiece of a Baroque string orchestra concert, pairing it with Tartini's violin concerti or other Italian Baroque concertos to showcase the breadth of his orchestration. It also works effectively as the first half of a concert that moves into later string concertos, illustrating the evolution of the form. Consider it for a concert highlighting your principal cellist, as it provides substantive material without the dramatic demand of Romantic-era concertos.

• Baroque articulation and phrasing in string orchestral context
• Balancing solo and ensemble texture in concerto grosso form
• Reading and executing continuo realization (for harpsichord players)
• Managing sustained rhythmic energy across three-movement Baroque structure
• Listening and responding to solo dialogue across the ensemble