Before hearing Jacques Offenbach's works for cello and orchestra, abandon any expectations of serious concerto writing, and prepare instead for musical comedy, albeit of an instrumental variety. Offenbach's habitual tunefulness and tendency to compose medleys undermines conventional notions of form and development, and his Concerto militaire in G major is far from orthodox. While the cello is featured prominently and given many choice passages for virtuosic display, the stringing of one infectious melody after another makes ...
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Before hearing Jacques Offenbach's works for cello and orchestra, abandon any expectations of serious concerto writing, and prepare instead for musical comedy, albeit of an instrumental variety. Offenbach's habitual tunefulness and tendency to compose medleys undermines conventional notions of form and development, and his Concerto militaire in G major is far from orthodox. While the cello is featured prominently and given many choice passages for virtuosic display, the stringing of one infectious melody after another makes this work more comparable to the later potpourris from the operettas. The Four Impressions are really collaborations between Offenbach and Friedrich von Flotow, which were orchestrated later by Heinz Geese from the cello and piano score. Despite the prominent cello solos, these are not concerto movements in any sense, but more like songs without words. The Concerto Rondo, like the first work, is a tune-fest similar in its jaunty militarism and cheerful spirit of parody to La Grande...
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