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Svendsen - Cello concerto op.7 in D

Svendsen - Cello concerto op.7 in D. You can download the PDF sheet music Svendsen - Cello concerto op.7 in D on this page.

Concerto for Cello and Orchestra, Op. 7 in D major • in D-Dur • en ré majeur

1. Allegro
2. Andante
3. Tempo I

The one-movement Cello Concerto in D major, Op. 7 was completed by Svendsen in November 1870. It has a traditional Allegro - Andante - Allegro form, but without a break between the movements. Also, the first Allegro consists of an exposition and a development section, but no recapitulation, before Svendsen takes us into the Andante. The slow movement foreshadows his Romance for violin Op. 26 and also demonstrates music similarities. It leads in turn to the closing part, which serves as the true recapitulation of the opening Allegro. The finale is not really an independent movement. So, this Svendsen's cello work is a concerto in three movements, and also a large sonata allegro enfolding a slow intermezzo. It is possible that Liszt's Piano Concerto in Es-dur was a model for this formal experiment. Cello part edition by S. Aslamazyan.

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PDF format sheet music

Instrument part: 6 pages. 1242 K


Piano part: 19 pages. 2452 K


Svendsen - Cello concerto op.7 in D - Instrument part - first page Svendsen - Cello concerto op.7 in D - Piano part - first page
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Svendsen's Cello concerto Op. 7 was dedicated to the cellist Emil Hegar, his student friend, who premiered it with the Gewandhaus Orchestra. An interesting form and limited use of virtuoso passages drew muted acclaim from the critics, some of whom held the solo part to be rather boring, for both performers and listeners. Some music critics, however, said that this Svendsen's Cello Concerto showed pleasant artistic restraint.

This Cello Concerto lacks the contrasting elements so typical for Svendsen's works. It does not lean on virtuosic displays, speaking rather to the cantabile quality of the solo instrument. The orchestration is more close than what you can usually hear in Svendsen's music. His concerto unfolds a kind of endless melody, inspired by Wagner, rather than engaging in a dialog between cello and piano. In this respect it demands a cellist capable of bringing out not only lyric details but the full expressive range of what can appear to be rather musical material.
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