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Symphoniekonzert V

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Symphoniekonzert V

Among the relatively few cello concertos of note is undoubtedly Sergei Prokofiev’s Sinfonia concertante, which was premiered in 1952 and is based on a concert piece from the late 1930s. Highly virtuosic in nature, it demands an enormous amount from the soloist in terms of both technique and expressive range—and with its expansive dimensions and sonic developments, it is indeed a “grand” work.

Pyotr Tchaikovsky’s Francesca da Rimini, an orchestral fantasy from 1876 based on an episode from Dante’s Divina Commedia, is remarkably rich in timbre; the work’s tragic nature deeply moved the composer. This dark, emotional music has an almost operatic quality, as does Igor Stravinsky’s Feuervogel, conceived as a narrative ballet, which caused a sensation in Paris on the eve of World War I with the Ballets Russes. In 1919, the composer composed a suite for large orchestra, featuring a wealth of dazzling timbres and an extraordinary rhythmic and expressive intensity.

Sergej Prokofjew

Sinfonia concertante for Violoncello and Orchestra op. 125

Peter Tschaikowsky

Francesca da Rimini op. 32

Igor Strawinsky

L’oiseau de feu (Suite 1919)

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