With his Konzertstück in D minor op. 10, Julius Klengel follows in the footsteps of Carl Maria von Weber, Felix Mendelssohn Bartholdy, Robert Schumann and many other composers. They turned to this genre of formally free piece when it came to creating performance opportunities for themselves or for performer friends. They were able to highlight their mastery without falling into empty virtuosity. It is not surprising that Klengel, one of the most renowned cellists of his time, initially wrote his violoncello solo works chiefly for his own use. In his Konzertstück op. 10, Klengel opts for a three-part form, whereby the Allegro outer sections are closely connected by the striking main theme, and encompass a slow middle section. This main theme is unmistakably derived from the Queen of the Night's “Vengeance Aria” from Mozart's Magic Flute – indeed, Klengel displayed a great sensitivity in using beloved melodies from the classical and romantic eras in his cello pieces.