Bernhard Romberg: Concertino for 2 Cellos in A Major, Op.72, Bruno Delepelaire & Stephan Koncz

Bernhard Romberg - Concertino for 2 Cellos in A Major, Op. 72, Bruno Delepelaire (cello), Stephan Koncz (cello), Deutsche Radio Philharmonie Saarbrücken und Kaiserslautern, Reinhard Goebel (conductor)
I. Allegro moderato - 00:00 ---- II. Andante grazioso - 06:29 --- III. Rondo. Con allegrezza - 09:19
„The cellist Bernard Heinrich Romberg (1767-1841) was known as an outstanding string instrumentalist, and considered to be on a par with such figures as Viotti, Spohr, and Paganini because of Romberg’s remarkable parallel talent as a composer. Also, he is notable for making several innovations in cello design and performance. As a composer and a great cellist, he left abundant cello repertoire, including ten Concertos, six Concertinos, Sonatas, Duets, Fantasias, Divertissements, Capriccios, Polonaises, Variations & other pieces between the late eighteenth century and mid nineteenth century. Among his works, his ten cello concertos are significantly showing cello techniques which have been developed from earlier composers such as Corrette and Berteau.
Born on 11th November in 1767, Bernhard Heinrich Romberg started his music education with his father, Anton Romberg. Johann Conrad Schlick (1759 - 1825), a cello virtuoso who was highly respected in his time, also taught Romberg for a time. According to other sources, he studied with the Viennese violoncellist Franz Marteau.
At the age of seven, Romberg showed his musical talent at the first public appearance with his cousin, Andreas Romberg, who later became a violin virtuoso.
Romberg became a member of the orchestra in Münster and in 1790 was engaged in the chapel of the Elector Maximilian Franz in Bonn, where he met and befriended Beethoven. Andreas Romberg, Ludwig van Beethoven and Bernhard Romberg formed a quartet.
Romberg played with his cousin in the electoral orchestra in Bonn during 1790 and 1792. From 1793, Romberg played at Schröder's Ackermannsches Komödienhaus (later renamed the Deutsches Theater in 1797) in Hamburg. When he visited Vienna with Andreas in 1796, Bernhard gave the first performance of Beethoven's two op.5 cello sonatas with the composer. Beethoven, who had great respect for Romberg, asked if he can write a cello concerto for Romberg but Romberg turned it down for the reason of playing only pieces composed by himself.
Romberg stayed in Hamburg for two years (1797 - 1798) and he toured England, Portugal, and Spain in 1799, parting with Andreas for the first time.
Romberg arrived in Paris in 1799 and was active as a cellist and composer and from 1801 to 1803 when he taught at the Conservatoire. In 1805, he played in the royal court orchestra in Berlin.
In constant demand as a soloist, he toured Russia, London and other countries continually between 1806 and 1815. He successfully held concerto performances in many other European cities. In Vienna, he again met Beethoven who was already very ill. Beethoven’s letter dated February 12, 1822 shows their close friendship. “My dear Romberg, this night I had terrible pains in my ears, as often happens ahis time of the year, Even the sounds of your music would have caused me only suffering. That is why you will not see me today. ...Good-bye, great artist, Truly yours, Beethoven.”
In the late years of life, Romberg began compiling a cello method, “The Theoretical and Practical School for Violoncello”, which was completed in 1839 and the following year accepted as a manual for the Paris Conservatoire. It was first published in Paris, then in Germany, Austria and England. Bernhard Romberg died in Hamburg on August 13, 1841.” (extracts from Disertation „THE TEN CELLO CONCERTOS BY BERNHARD HEINRICH ROMBERG”, Indiana University, December, 2012 BY YEON-JI YUN)
Unfortunately, Romberg’s concertos have not received deserved attention by cellists.

[@pablogabrielpizarro8046]

BRAVO!!! Gracias por compartirlo!!!

[@sibarit101]

Thank you too!

[@emiliololli9007]

Bellissimo: un mix di classicismo e romanticismo incantevole e commovente!

[@sibarit101]

Thank you very much for this comment!

[@jurgenkuster3510]

Purer Wohlklang, traumhaft schön

[@sibarit101]

Thanks a lot!

[@cathaypacific2118]

Another classical treasure. Thank you for uploading it 🙏🙏👏👏

[@sibarit101]

Thanks for listening!

[@pmmdrt]

Yulia you couldn't have made a better choice because this week is the start of the semifinals Queen Elisabeth competition for cello. I will enjoy for two weeks long of the instrument. I experience this work by Romberg as fabulous. I hope with the nice weather rehabilitation benefits. Better times will come for sure!

[@sibarit101]

Oh, my friend, I didn't know anything about this competition! How wonderful it must be that you can watch this! Although I'm happy for you, I envy you at the same time! (although I rarely say this, the cello is my favorite instrument). Yes, I will continue to go to the beach. I hope the weather will be favorable .... I'm glad you liked Romberg's short concertino. Thank you for your comment and thank you for your friendship!

[@andriysavchuk9853]

❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤

[@antoniosilva7083]

A divulgação das obras dos contemporâneos de Beethoven (Reicha e Romberg foram desde logo seus colegas na Orquestra Eleitoral de Bonn) dá-nos a exata medida das tendências da época. E isso é magnífico, porque permite concluir que Beethoven não cresceu isoladamente, antes foi moldado por múltiplas influências e deve o seu génio a um conjunto de factores musicais mas também idiossincráticos. De facto, a par da cultura musical, o temperamento, a surdez e as vicissitudes por que passou são a imagem de marca do êxito retumbante de Beethoven, no seu tempo e ainda hoje.

[@sibarit101]

Thanks a lot! I completely agree with you!

[@valeriykhasyanov9011]

🌹