Many masterpieces have been composed over the centuries for the cello, that member of the string family whose timbre is said to most closely resemble the human voice. Scores of monumental works, both in the chamber and concerto genres, have been created for this attractive instrument: from Bach to Bloch, Boccherini to Britten. Dutch composers have also shown interest in the instrument, especially in the 20th century, composing works that feature not only the cello but also the abilities of virtuoso cellists they admired, whose playing breathes life into the Dutch music of this century, adding its melodious voice to the music history of all nations.

Henriëtte Bosmans (1895–1952) at first studied piano with her mother, only taking up composing at the age of 17. She sharpened her abilities in this art through lessons with Cornelis Dopper and Willem Pijper. Bosmans performed in various chamber music ensembles, appeared as a soloist and gave lessons, and as a pianist she championed contemporary music. She is particularly remembered for her art songs, chamber music and concertos. Her work evolved along her career from a Germanic style to one influenced by French impressionism, her Poème for cello and orchestra being a fine example of the latter. The work is dedicated to Marix Loevensohn, principal cellist of the Concertgebouw Orchestra, with whom she often performed.

Willem Pijper (1894–1947) studied composition with Johann Wagenaar, and his progress was astounding: within a few years (from 1918 to 1922) he became one of the most advanced composers in Europe, each successive composition of his going a step further. Although considered a proponent of atonality, Pijper’s harmonic complexity is always in service of musical expression. His Cello Concerto is also dedicated to Marix Loevensohn, who performed it at his own retirement concert as principal cellist of the Concertgebouw Orchestra. Feeling that the orchestra overshadowed the soloist at times, Pijper revised the Concerto’s orchestration in 1947.

The pianist and composer Leo Smit (1900–1943) studied composition at the Amsterdam Conservatory with Bernard Zweers and Sem Dresden. He taught analysis and harmony at the Amsterdam Conservatory from 1924 to 1927, after which he resided in Paris until 1933. There he came under Darius Milhaud’s influence, which introduced a French aesthetic to his music, and he was exposed as well to Igor Stravinsky's neoclassicism. He returned to Amsterdam in 1937, establishing himself as a music pedagogue, and remained there until he was deported to Auschwitz in 1943, where he perished. His lucid, intelligent and subdued style is most clearly apparent in his chamber music. Smit also composed several orchestral works and concertos for various instruments, among them his Concertino for cello and orchestra.

Hans Kox (1930–2019) studied piano with Jaap Spaanderman and composition with Henk Badings. His debut as a composer came in 1953, and he went on to receive numerous commissions from the Netherlands and abroad, with many of his works appearing on CD. He taught at the Conservatory in Utrecht. His Cello Concerto (1969) was commissioned by the Eper Muziekkring (the erstwhile Music Society of the eastern Dutch municipality of Epe) in honour of its fifth anniversary.