ELGAR - CELLO CONCERTO IN E MINOR

Cello Concerto in E minor, Op.85

Sir Edward Elgar (1857-1934)

By the time Elgar came to write his cello concerto in 1919 he was an internationally acclaimed composer but deeply affected by the First World War. It was to be the last major work he would complete although he was only 62 and would live another fifteen years.

The Cello Concerto in E minor is a world apart from his Enigma Variations. This is a work of melancholy and his most emotional and deeply felt composition. It is scored for a large orchestra consisting of two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings. Despite its size, Elgar uses the ensemble with such skill that he never obscures the soloist, yet the textures never sound thin.

The work is unusual for a concerto in that it is in four movements, rather than the normal three and in some ways is written more like a symphony with the soloist acting as raconteur and protagonist.

Elgar started writing the concerto in March 1918 while in bed recovering from having septic tonsils removed. Its first performance was given on 26^th October 1919, at the Queen’s Hall in London, with Elgar himself conducting the London Symphony Orchestra, with Felix Salmond as soloist. Like so many works that have gone on to become popular, the première was not a success. Elgar had just not been given sufficient rehearsal time with the orchestra – the review in the Observer said “The orchestra was often virtually inaudible, and when just audible was merely a muddle. No one seemed to have any idea of what the composer wanted”. Quite apart from the poor orchestral performance, the audience was surprised and disturbed by such heart-rending music, particularly in a virtuosic concerto.

I. Adagio – Moderato: The work starts with a serious statement from the cello which leads into a lulling Falstaff-like tune by the orchestra which is the main theme of the movement. The moderato brings in a noble passage which appears to recall past happenings, before the cello develops the material with the orchestra.

II. Lento – Allegro molto: Continuing straight on from the first movement, the solo cello gives a pensive introduction before we are into an “impish” scherzo. Although playful, there is still a hint of sadness in the air.

III. Adagio: This is a short movement of only 60 bars, but provides a mood of meditative tranquillity in “a lament for thoughts that lie too deep for tears” to quote Michael Kennedy.

IV. Allegro – Moderato: We once again start with a cello recitative which feeds on themes from previous movements, before the movement gets underway with some of Elgar’s pre-war swagger. However this does not last long before the meditative lament from the 3^rd movement returns. The work ends in rather unconvincing high spirits from soloist and orchestra.

Instrumentation (key to notation): 2/1222:4231:T Str

Programme Notes by Jonathan Hodgetts