'Other concertos are available'

[LMcD]

Having discovered that the fine piano concerto which I happened to catch during Through The Night a few hours ago was by Dvorak, I was reminded of an interview many years ago in which Garrick Ohlsson said it was his mission to establish this work as a mainstay of the concert hall repertoire. I don't think it's unfair to say that he hasn't succeeded (well, not yet). This led me to wonder why the popularity of one particular concerto by certain composers tends to condemn their other works in this genre to a greater or lesser degree of neglect and obscurity. Dvorak's cello concerto is an obvious example, and one particular work by each of Mendelssohn and Bruch has come to be heard to the exclusion of those composers' other concertos - which seems a pity.

[oddoneout]

Some years ago I was at a concert where the 'other' Mendelssohn violin concerto was played. Despite the soloist's advocacy, and skilled performance of it, I wouldn't choose to listen to it again, and I don't think it a great work. Even if the 'other' concerto hadn't been written I'm not convinced the earlier one would have become a staple of the concert repertoire. Perhaps sometimes the reason for one concerto's dominance is that it is the better?

[Bryn]

Having discovered that the fine piano concerto which I happened to catch during Through The Night a few hours ago was by Dvorak, I was reminded of an interview many years ago in which Garrick Ohlsson said it was his mission to establish this work as a mainstay of the concert hall repertoire. I don't think it's unfair to say that he hasn't succeeded (well, not yet). This led me to wonder why the popularity of one particular concerto by certain composers tends to condemn their other works in this genre to a greater or lesser degree of neglect and obscurity. Dvorak's cello concerto is an obvious example, and one particular work by each of Mendelssohn and Bruch has come to be heard to the exclusion of those composers' other concertos - which seems a pity.

I take it your reference to "Dvorak's cello concerto" was to his second, in B minor, rather than the first, in A major (a work which illustrates the point of your post very well.

[Rolmill]

This led me to wonder why the popularity of one particular concerto by certain composers tends to condemn their other works in this genre to a greater or lesser degree of neglect and obscurity. Dvorak's cello concerto is an obvious example, and one particular work by each of Mendelssohn and Bruch has come to be heard to the exclusion of those composers' other concertos - which seems a pity.

Actually I think Dvorak is a less obvious example than it used to be, as his violin concerto has deservedly become a concert programme (and recording) staple over the last few decades. I must admit to finding his piano concerto less memorable, though I have a couple of recordings which get an occasional airing. Mendelssohn's piano concertos, particularly the first, are quite often performed as well, as is Bruch's Scottish Fantasy (though sadly not his other concertos). Hummel's trumpet concerto is perhaps another example.

In some cases it is probably related to the instrument involved: there is far less competition in cello and trumpet concertos, so they crop up more regularly perhaps? Doesn't explain the Bruch and Mendelssohn examples though.

[LMcD]

I take it your reference to "Dvorak's cello concerto" was to his second, in B minor, rather than the first, in A major (a work which illustrates the point of your post very well.

In my blissful ignorance I didn't realize that he composed two. As regards Mendelssohn, I don't think the relative neglect of the piano concertos is attributable to their quality, if Murray Perahia's recordings are anything to go by!