Version 2.0, 16 September 2026. Primary source: New York Philharmonic PerformanceHistory repository, commit ee2d2b40149b3af716436e717f49b759480a7ec4. The complete export contains 15,000 program records and 23,200 concert entries. Its export script has a 15,000-record cap; it is not a claim to contain every present-day record. Eight independently exported historical segments agree exactly with the complete export for every record in our 1950–51 through 2019–20 study window. This internal reconciliation cannot prove the archive itself has no omissions.
Main frame: orchestra label exactly New York Philharmonic; season beginning 1950 through 2019; event type exactly Subscription Season. Other ensembles and event types are retained only where relevant to sensitivity files, not mixed into the main count. The 2019–20 season includes the pandemic-shortened ending. Dates are taken from the archive's date component; its ISO time-zone suffix is not used to shift concert dates.
Screen all works with cello/violoncello in the title or a listed cello instrument. Review every resulting title, not only the expected core composers. Main genres: solo cello concertos, including explicitly labelled concerto arrangements, concerto-rhapsody and symphony-concerto. A sensitivity excludes Schubert/Cassadó's Arpeggione arrangement, Khachaturian's Concerto-Rhapsody, Prokofiev's Symphony-Concerto and Danielpour's second concerto, which also lists kamancheh. Britten's Cello Symphony is tracked separately; double, triple, concerto-grosso and chamber works are excluded. Tchaikovsky's Rococo Variations and Bloch's Schelomo are other genres. Classification is transparent in work-screening.csv.
An appearance is a work ID at a distinct date, time, venue and location. The archive can create separate program IDs for concerts that differ only in an encore. Deduplicate appearances across those program IDs. Retain source program IDs, soloists, conductors and work IDs. Main appearances require no catalogued movement/excerpt; missing movement metadata is treated as the archive's complete-work record, not independently verified completeness. Excerpt-inclusive and all-event-type variants are separate sensitivity counts. The all-event variant follows the same concerto IDs identified in the subscription frame; it is not a separately screened census of every concerto in other event types.
The seven-work grouping was selected from the original Wikipedia repertoire claim, before ranking the archive. Its 64.1% share is descriptive, not a significance test. Separate works by one composer remain separate. Soloist counts use the archive's names without inferred identity merges. This is a census of the defined archive slice, not a random orchestra sample or global frequency estimate. The earlier contemporary sample covers five US orchestras' announced home-season programmes and uses programme bookings, so it is downloadable separately and never added to the historical counts.
Data license: the Philharmonic metadata is CC0. The research package supplies the frozen source provenance, transformation code, classifications and derived tables.
Version 3.0 adds a composer aggregation because the original repertoire claim names composers, not a fixed number of works. Haydn's two concertos are combined; work-level tables remain unchanged. The six named core composers occupy the first six composer ranks. Examples beyond the core compare individual works, not the mean of all core works. This archive does not establish that many other concertos are as frequent as Dvořák or Schumann worldwide.