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

String orchestras rarely encounter a Tartini concerto written for an instrument other than violin, making this cello work a genuine rarity in the repertoire. The discrete, almost introspective character of the solo part creates an entirely different expressive landscape from his violin concerti, and the optional organ part adds textural richness without requiring a harpsichord. Ravanello's edition with Silva's revisions to the cello line ensures the solo part sits comfortably for modern cellists while preserving the work's historical character.

The concerto moves with Baroque energy and forward momentum, yet the solo cello inhabits a more reserved, contemplative space within that framework. There is a quiet dignity to the writing, as though the soloist is observing the orchestra's spirited dialogue rather than commanding it. The result is an intimate conversation between equal partners rather than a virtuosic showpiece.

String orchestras seeking to program a Baroque concerto with genuine historical interest and the ability to highlight a solo cellist. This work suits ensembles with at least intermediate facility and a soloist confident in the Baroque idiom, offering a compelling alternative to the standard violin concerto repertoire.

• Balance the solo cello carefully in its middle register; the writing avoids extremes and can be easily overwhelmed by the string ensemble, especially in the opening ritornello.
• If including the organ part, keep it lightly voiced and transparent; it should enhance the harmonic foundation without competing with the orchestra's melody.
• Shape the cadenza with attention to the cellist's technical comfort; Silva's revisions were made with performance practice in mind, so trust their voice in these passage work sections.
• Allow the orchestra to establish the concerto's energetic character in tuttis, but give the soloist room to breathe and phrase with flexibility in the episodes.

Program this as a centerpiece for a Baroque-focused concert, or pair it with a violin concerto by Tartini or a contemporary to show the range of his concerto writing. The work's moderate length and single-movement structure fit well in programs combining multiple concerti or in educational settings where students explore how composers wrote for different instruments.

• Playing the Baroque concerto idiom on a secondary solo instrument
• Balancing solo and ensemble voices in ritornello form
• Sustaining tone and phrasing through the middle register of the cello
• Navigating passage work and cadenzas in Baroque style
• Reading and responding to orchestral textures as a soloist