Rieding Cello Concerto in B minor Op. 35 for Cello and Piano

Rieding: Cello Concerto in B minor, Op. 35 (Cello & Piano)

Rieding wrote this cello concerto as his own transcription of his popular violin concerto, keeping the original key of B minor, and it sits naturally on the instrument. The writing puts musical character before technical display: long singing lines, clear Romantic phrasing, and enough forward momentum to carry the weight of a real concerto from the opening bar.

At around ABRSM Grade 6, the solo part is well matched to a developing cellist who is ready for something substantial. Staying in the original violin key means there is considerable A string work throughout, which pays dividends at this stage: the A string demands a different quality of tone production and bow pressure than the lower strings, and Rieding gives the soloist plenty of time to develop confidence in that register. The technical demands call for warm cantabile tone, controlled shifting, and the ability to sustain longer phrases with a sense of direction rather than just covering the notes. There is enough virtuoso figuration to feel like a proper concerto occasion, but the piece never puts difficulty ahead of music.

At nine minutes, the length is well judged. Substantial enough to fill a concerto slot convincingly, and compact enough to sit comfortably in a school concert or festival programme without dominating it.

Check the score and parts preview images above, then watch the complete score video below. They'll give you a clear picture of the engraving quality and overall difficulty before you buy.

Key features

• Instrumentation: Cello & Piano
• Difficulty: approximately ABRSM Grade 6
• Duration: approximately 9 minutes
• Style focus: cantabile tone production, A string and upper register work, phrase shaping
• Format: PDF download, full score and all parts

Who it's for

This suits Grade 6 cellists preparing a concerto for festivals, exams, or student recitals where something lyrical and audience-friendly is needed without the technical reach of Grade 7 or 8 repertoire. It works well in teaching studios as a piece that rewards musical thinking as much as technical progress, and in school concerts where the solo part holds attention without overstretching the soloist.