Aram Khachaturian - Cello Concerto in E minor (1946) (Score, Analysis)

Կոնցերտ թավջութակի և նվագախմբի համար/Концерт для виолончели с оркестром/Cello Concerto
Aram Ilyich Khachaturian (Արամ Եղիայի Խաչատրյան (Aram Yeghiayi Khach’atryan) /Арам Ильич Хачатурян (Aram Il’ich Khachaturyan) (1903-78) was an Armenian/Soviet composer who blended elements of his native Armenian music with modern harmonies. He wrote music of various genres, and he is best known for his concertos and ballet music.
The cello concerto, the final piece of the triad of concertos, was conceived in 1944, though some musical ideas date back to his student years. It was dedicated to Sviatoslav Knushevitsky. It premiered on 30 October 1946 with Knushevitsky and Aleksandr Gauk.
This work was one of the works that was condemned in Zhdanovshchina, for being “formalistic”. Today, it is the least known of the triad of concertos, and it has not entered the core repertoire.
The cello is the first instrument that the composer learned, and he often said that it has a personal connection with him. Another influence could be seen in the general mood of the piece, which seems to echo Khachaturian's painful experiences of the war years. It has sometimes been called a symphony with a cello solo, rather than a cello concerto.
It is the darkest out of all concertante works of Khachaturian, and it is relatively unknown compared to the popularity of the piano and violin concertos, but it is probably my favorite out of the triad of concertos.
Flute 2, Oboe 2, Clarinet 2, Bass Clarinet, Bassoon 2, Horn 4, Trumpet 2, Timpani, Snare Drum, Cymbals, Bass Drum, Harp, and Strings.
(0:00) Mov.1 Allegro moderato - The piece starts with a brooding fanfare.
(0:20) T1
(1:10) Solo entry, T1
(2:49) T2, of an improvisatory character
(3:48) Solo entry. Also Dies Irae
(5:10) Development, T1 goes through various changes in tonality and is stated in various registers. However, it does not contain that much “development” in traditional sense.
(6:53) T2, climax. The following passages are also based on T2. It is noticeable that some of the figurations are very reminiscent of Dies Irae.
(8:33) Cadenza, mostly based on T2.
(11:15) Recapitulation, T1
(13:10) T2
(13:43) Coda, based on T2.
(15:30) Mov.2 Andante sostenuto - The second movement is very somber and introspective. It starts with an improvisatory melody from the flute, like piercing the silence of the night.
(16:53) Soloist entry, again with improvisatory melody.
(19:37) “Middle section” (quotation since the middle section is based on previous themes), soloist now in the background - the orchestra continues
(20:43) Climax
(21:00) Return of the outer section. The music slowly fades into a quiet finale. Also, I think the main theme is quite similar to the T2 of Mov.1
(23:20) Mov.3 Allegro (a battuta) - The last movement is very lively, but still with tension. It starts with the cello stating the first theme, similar to T1 of Mov.1
(24:43) Variation of previous theme.
(25:16) Different theme, reminiscent of T2 of Mov.1
(28:30) First theme
(29:41) And a melody almost identical to the T1 of Mov.1 appears here.
(31:08) Coda - T1 and T2 joined. It is very fast and the tension is mostly resolved by here.
(31:42) Climax, and a rather bright finale.
Source: English Wikipedia, original research, Собрание сочинений в двадцати четырех томах, Москва : Издательство "Музыка" (1982-1991) Vol.19
Recording by Dmitry Yablonsky, Moscow City Symphony Orchestra, Maxim Fedotov
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[@armenn7466]

Всё , что делал Арам Ильич, просто великолепно

[@MorganWasHere3]

I always wanted someone to do an analysis on this piece, but I never though it would cross anyone’s mind to do so. Thank you from the bottom of my heart! 😃

[@Signore_S]

You're welcome :) I think it is not entirely perfect (especially for the last movement) but I'm glad you liked it!

[@leonlinton634]

One of my favourite Khachaturian works! A very unfairly ignored piece imho

[@kimsground7190]

하차투리안 첼로 협주곡은 처음 듣네요.