Samuel Barber - Cello Concerto (1945) [score+audio]

DONATE to help two composers achieve their dreams! https://gofund.me/5f1d1a9d Your support means everything! Now you can really see just how hard it is! Composer: Samuel Barber (1910-1981) Cellist: Wendy Warner Orchestra: Royal Scottish National Orchestra - Marin Alsop 00:00 I. Allegro moderato (07:52 cadenza) 12:50 II. Andante sostenuto 20:09 III. Molto allegro e appassionato I do not own this copyrighted content. I have only compiled the sheet music and audio for education purposes Support the artist, buy the recording: http://www.wendywarnercello.com/samue... Sheet music: https://www.sheetmusicplus.com/title/...{campaign_id}_&popup=false&popup=false&utm_source=google&ac=1&country_code=USA&sc_intid=3152184&scid=scplp3152184 Wikipedia: Samuel Barber's Concerto for Violoncello and Orchestra in A minor,[citation needed] Op. 22, completed on 27 November 1945 (Heyman 1992, 252), was the second of his three concertos (the first being his Violin Concerto and the third his Piano Concerto). Barber was commissioned to write his cello concerto for Raya Garbousova, an expatriate Russian cellist, by Serge Koussevitzky on behalf of Garbusova and the Boston Symphony Orchestra. Funds for the commission were supplied, however, by John Nicholas Brown, an amateur cellist and a trustee of the Boston Symphony Orchestra (Heyman 1992, 248). The score is dedicated to John and Anne Brown (Barber 1952, 1). Barber was still on active duty with the U. S. Army at the time he received the commission, and before beginning work asked Garbousova to play through her repertoire for him so that he could understand her particular performing style and the resources of the instrument (Heyman 1992, 249). Garbousova premiered it with the Boston Symphony Orchestra in Symphony Hall, Boston, on 5 April 1946, followed by New York performances at the Brooklyn Academy of Music on 12 and 13 April (Heyman 1992, 252). The concerto won Barber the New York Music Critics' Circle Award in 1947 (Heyman 1992, 257). The work has remained obscure and performances are scarce, largely because of its extreme technical demands, but also because the heavy editing of the solo part by Garbousova hinders individual interpretation (Davies 1999, 34).