Kian Soltani and Kayhan Kalhor perform Cello double concerto. Composed by Rembrandt Frerichs.

Kian Soltani (cello), Kayhan Kalhor (Kamancheh) A'dam Sinfonietta (String Ochestra), Rembrandt Frerichs (fortepiano & composer), Vinsent Planjer (percussion)
Performed live at the Cello Biennale Amsterdam

Program notes by the composer: This piece aims at bringing together three different musical elements, coming from various musical traditions.

THREE PARTNERS.
First, there's the (classical) string orchestra. With playing in a moving, rubato style, it makes the listener remind 19th century string traditions.Rhythmic notations are not taken too metronomical by the orchestra, so that the string parts can breathe.
Second, there's the cello soloist, taking a role as would happen in a normal cello concerto: coming in with the first theme.
Third, there's the improvising soloist. for the role of the improvising soloist, it will depend on each individual concert to decide between two options here below:

HOW TO TREAT IMPROVISATION.
Option 1. the improvising soloist will start the concert at bar 1, (being an ad lib part for open solos) then cues the orchestra to come in at bar 2 and the piece is off. in this case, the violins can accompany the soloist with a very pianissimo open g string, as a basic bourdon for the soloist.

Option 2. the orchestra will start the piece, very eery and in a northpole-like cold soundscape, with the high strings starting the concert. gradually the improvising soloist has more parts, and the accent is on the end of this score, where there's place for an open solo, leadig to the next piece. (Sky, whirl not without me, Moon, shine not without me)

GENERAL REMARKS.
-For the cello soloist, it's preferred to execute the cadenza lines in a lyrical way, not too metronomincal, when you're playing alone.
-The Concertmaster is encouraged to proactively answer the soloists and building the tension together with cello and kamancheh.

ABOUT THE FORM.
The first part starts out very etherical, with just high strings, accompanying the Kamancheh, who gets to play the first introduction of the thematic material.
This beginning passage features the western string ensemble in a way that it can sound fully like a western classical orchestra.
Then, the cello makes it's grand entrance as a first introduction of the cello soloist and keeps being the sparring partner of the orchestra in this whole first part.
The cello throws up material that's being answered by kamancheh and the orchestra, thus giving the listener an experience that Kian makes up this material on the spot, and the orchestra replies immediately, very much like Kayhan will have done in his solo improvisation, thus creating a unity between cello and kamancheh.