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

This is Tartini's only known cello concerto, making it a genuine discovery for string orchestras seeking solo cello repertoire from the Baroque era. The work sits gracefully in the cello's middle range, allowing younger or less advanced soloists to shine without extreme technical demands, while the energetic orchestral writing keeps ensemble players engaged throughout. Ravanello and Silva's edition brings thoughtful revisions that respect the original while making the piece accessible to modern performers.

Energetic yet understated, this concerto balances Tartini's characteristic rhythmic drive with a soloist who emerges gradually rather than dominating from the start. The writing captures the cello's lyrical warmth without stretching into its extreme registers, creating a chamber-like intimacy within the full string ensemble. There's a courtly elegance here, with moments of gentle brilliance that feel earned rather than imposed.

String orchestras with an advanced cellist ready to carry a solo line, or intermediate orchestras where the cello's reserved role allows for confident, musical playing without heroic demands. This is ideal for programs seeking Baroque concerto experience beyond the familiar Bach and Vivaldi repertoire, and for cellists preparing for Romantic-era concertos who benefit from building maturity in earlier styles.

• Balance the solo cello's discretion with the ensemble's energy; resist the urge to push the soloist forward beyond what the writing suggests. The intimacy of the middle range is a feature, not a limitation.
• Prepare the cadenza carefully with your soloist beforehand. Silva's revision offers a clear path through, but it benefits from rehearsal time separate from the full orchestra.
• Shape the orchestral tuttis with rhythmic clarity and attention to inner voices. String orchestras can sometimes blur fast passagework; keep the articulation crisp in running figures.
• Use the optional organ part if available and if your venue supports it; its continuo function adds harmonic warmth and helps maintain structural coherence in longer sections.

Program this alongside other Baroque concertos to show the diversity of the form beyond violin literature, or pair it with later Romantic cello concerti to trace the instrument's expanding technical and expressive role. It works especially well as a spring concert feature that spotlights your cello section's musicianship without overshadowing the ensemble's contributions.

• Baroque phrase structure and harmonic language
• Solo-ensemble balance and communication across strings
• Ornamentation and stylistic interpretation in the Baroque period
• Reading from a solo part while maintaining orchestral coordination
• Clarity and articulation in fast passagework across string textures