Imagine how great it would be to come back to the Schubert Arpeggione sonata after a ten year pause. I obviously don’t wish the well-known pieces to disappear from the concerts for ever but they could be given a little rest and the others be given a chance. If you are considering to play any of the following well-known pieces it would be a great idea to at least consider playing these lesser known pieces.
For each piece you know there will be at least two logical alternatives of equal importance. In planning programs today we are often asked to consider gender, geographic origin or other aspects so it is in our own interest to know as large a repertoire as possible. Why certain pieces have survived is probably because they survive performances that don’t understand the style, Why Boccherini for example existed for over a century only in few completely un-stylistic arrangements is because the greatness of his music is totally dependent on the performers understanding of the style. And the quality itself is totally dependent on who is the messenger, in the wrong hands most music will sound like bad music. Often the reasons have nothing to do with the quality of the music. It may have to do with style, gender, origin, problems of notation, lack of publisher, wrong publisher, fashion, lack of social skill, too keen self promotion or any combination of these.
There are always multiple reasons for great music falling out of general attention. Orchestras don’t program much more than 10 Concertos and apart the Bach Suites there are maybe 5 pieces that make their way to concert programs. While the list of pieces that appear in cello-piano recitals is incredibly short – same 10 pieces keep circulating in different order – we cellists actually have very large repertoire.
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