In the realm of the concerto, Khachaturian is generally acknowledged to have produced two successes—his 1936 Piano Concerto and 1940 Violin Concerto. This effort for cello has its partisans among musicians and public alike, but has not risen to the popularity of its older siblings. Yet it is fashioned from essentially the same ingredients that constitute those works: a use of Armenian folk-inspired melody (though Khachaturian's themes are actually original), a penchant for exotic sonorities, and less interest in thematic development compared with most of Khachaturian's Soviet contemporaries and greater focus on the fabric of the melody itself.

The Cello Concerto is cast in three movements: Allegro moderato, Andante sostenuto, and Allegro a battula. The first movement opens dramatically with a drum roll, with an intense orchestral introduction following. The cello then enters playing the rhythmic main theme, with the strings providing further rhythmic support. A contrasting section of slower music follows, its folk flavors richer, sounding Far Eastern, especially in the string accompaniment. Much colorful and brilliant writing ensues (including an attractive, lengthy cadenza), but without much significant thematic development.

The middle movement may contain the most compelling music in the work. After a dour opening, the cello introduces an exotic melody whose rhythmic and mysterious nature capture the ear upon first hearing. The nocturnal air and seductive lilt of the music build in color as the movement proceeds. Things turn lively and brighter in the finale, again with a melody of great rhythmic vitality, introduced by the cello. The middle section returns to the darker mood of the Andante, but the last half features much fast music and some brilliant virtuoso writing for the soloist.

© Robert Cummings, All Music Guide