Concerto for Viola No. 1 in D, Op. 1 Cover Image

Concerto for Viola No. 1 in D, Op. 1: Full Orchestra, Solo Strings with Ensemble, Score and Parts

$65.00 USD

Concerto for Viola No. 1 in D, Op. 1: Full Orchestra, Solo Strings with Ensemble, Score and Parts

Name: Concerto for Viola No. 1 in D, Op. 1: Full Orchestra, Solo Strings with Ensemble, Score and Parts
Brand: Alfred Music
SKU: 36-A207202
Price: 65.00 USD
Availability: InStock

By Carl Philipp Stamitz, ed. Kurt Soldan

Item: 36-A207202

$65.00

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CARL PHILIPP STAMITZ (1717-1757) composed the CONCERTO FOR VIOLA NO. 1 IN D MAJOR, Op. 1 in 1774, during his last few years in Paris before becoming an itinerant freelance musician. It is one of two viola concertos by the composer, the other being the CONCERTO NO. 2 IN B-FLAT MAJOR. One of his few known works, it has become one of the foremost concertos in the viola repertoire. Filled with dazzling effects and extended technique, the piece appears to have been designed to show off his advanced skill as a virtuosic performer. This Kalmus edition has been edited by Kurt Soldan. Instrumentation: 0.0.2.0: 2.0.0.0: Str (4.4.3.3.3 in set): Solo Va in set.

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

UPC: 746241275059

SKU: 36-A207202

Instrumentation: 0.0.2.0: 2.0.0.0: Str (4.4.3.3.3 in set): Solo Va in set

More about this title

About the Composer: Carl Philipp Stamitz

Carl Philipp Stamitz (1717-1757) was a violinist and composer working in the heart of the Classical era, moving between the major musical centers of Europe. He spent formative years in Paris during the 1770s, where he composed this viola concerto among other works before pursuing a career as a traveling virtuoso musician. Though his output was modest compared to his contemporaries, the pieces he left behind reveal a composer deeply invested in showcasing instrumental prowess and technical innovation.

Stamitz's concertos occupy a distinctive space in the solo repertoire: they bridge the galant style of mid-century with emerging Classical forms, and they were clearly written from intimate knowledge of what a gifted performer could achieve. His viola concertos in particular remain essential works for violists seeking substantial, musically rewarding vehicles that demand genuine virtuosity.

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Why we love this

This concerto refuses to treat the viola as a wallflower instrument. Stamitz wrote it as a vehicle for a virtuoso soloist, and the orchestration, modest but alert, gives the viola room to shine without overwhelming it. Programming this alongside more familiar concerto repertoire signals to your audience that the viola deserves the spotlight.

What to expect

Elegant and spirited, with a Classical poise that never slides into austerity. The viola darts and soars through figuration that feels both gratifying to play and compelling to hear, while the orchestra provides a refined, conversational backdrop that keeps the focus exactly where it should be.

Who it's for

Violists at the intermediate-advanced level who are ready for a substantial concerto, and orchestras seeking a substantial solo work that engages the full ensemble without requiring a massive orchestra. This is ideal for concert programs where you want to highlight a capable violist and program something less frequently heard.

How to get the most out of it

Balance the solo viola against the two oboes and strings carefully during tuttis; the viola's natural projection is smaller than a violin's, so your orchestra should recalibrate their dynamic sense from the first rehearsal.
Treat the extended technical passages as opportunities to showcase individual color and control rather than raw speed; Stamitz's ornamentation and runs work best when the soloist can articulate each gesture distinctly.
Give the horns clear cueing responsibility in the ritornellos, particularly as the soloist re-enters after solo passages, to maintain ensemble cohesion across the broader instrumental lineup.

How to use it

Slot this into a chamber orchestra concert or a full orchestra program where you want to feature a standout violist. It pairs well with other Classical-era concertos or with contemporary chamber works; the modest orchestration makes it a natural fit for programs exploring the Classical concerto tradition or celebrating often-overlooked solo instruments.