Cello Concerto (Elgar)

Edward Elgar's Cello Concerto in E minor, Op. 85, is a cornerstone of the solo cello repertoire.

This musical work is scored for a solo cello accompanied by a large orchestra. The ensemble includes two flutes, two oboes, two clarinets in A, and two bassoons. It also features four horns in F, two trumpets in C, three trombones, a tuba, timpani, and a string section. Unlike Elgar's earlier Violin Concerto, which is lyrical and passionate, this concerto is largely contemplative and elegiac. An elegiac tone is one that is mournful or reflects on the past. This piece has become one of the two most frequently performed cello concertos in the international repertoire.

The concerto is structured into four distinct movements that last a little under 30 minutes. The first movement, Adagio – Moderato, uses a ternary form, which is a three-part structure. It begins with a recitative, a musical style that mimics speech, for the solo cello. This is followed by a main theme played by the viola section and the cello. The second movement, Lento – Allegro molto, starts with a fast crescendo, which is a gradual increase in volume. It uses pizzicato chords, where the player plucks the strings instead of using a bow. The third movement, Adagio, is a slow and lyrical section with a single theme running through it.

The fourth movement, Allegro – Moderato – Allegro, ma non-troppo – Poco più lento – Adagio, begins with a fast crescendo and a noble, stately theme. It eventually slows down to the tempo of the third movement before ending with the original recitative from the first movement.

The history of the concerto is tied to a period of great change. Elgar likely began working on the piece in 1919, following the First World War. He may have been fulfilling a promise made in 1900 to the cellist of the Brodsky Quartet, Frederick Moore. In 1918, Elgar underwent an operation to remove an infected tonsil. The night after returning from the hospital, he wrote the melody for the concerto's first theme. He and his wife, Alice, lived in a secluded cottage called Brinkwells in Sussex. While staying there, Elgar composed chamber works that were noticeably different in style from his earlier music.

The premiere of the concerto on October 27, 1919, was a debacle.

The London Symphony Orchestra did not have adequate rehearsal time. This was because another conductor, Albert Coates, overran his own rehearsal time at the expense of Elgar's. Lady Elgar described Coates as a "brutal selfish ill-mannered bounder" for his actions. The critic Ernest Newman noted that the orchestra gave a "lamentable exhibition" of itself. Despite this, Newman praised the music for its "pregnant simplicity" and profound beauty. Elgar did not blame the soloist, Felix Salmond, who had worked diligently to prepare the piece.

Following the premiere, the concerto faced a difficult reception. In the post-war era, Elgar's music was often viewed as old-fashioned. The American premiere took place at Carnegie Hall on November 21, 1922. Jean Gerardy performed the solo part with the Philadelphia Orchestra. The reception in New York was not enthusiastic. The New York Herald called the work "reflective, melancholy and generally depressing." The New York Times suggested the thematic material was sometimes "pretty thin." In Australia, the Sydney Morning Herald described it as original but lacking qualities that "kindle the imagination."

Despite these early struggles, the concerto eventually achieved massive popularity. A turning point occurred in the 1960s due to the work of Jacqueline du Pré. Her 1965 recording with the London Symphony Orchestra and conductor Sir John Barbirolli caught the public imagination. This recording became a classical best-seller and helped audiences worldwide appreciate Elgar's style. Since then, more than seventy recordings of the concerto have been issued. Notable soloists include Pablo Casals, Mstislav Rostropovich, Yo-Yo Ma, and Sheku Kanneh-Mason.

Today, the concerto is studied and performed as a major musical achievement. It requires a "reserved dignity" from the soloist to interpret it correctly. The work connects the emotional landscape of the early 20th century to modern listeners. It remains a vital part of the classical music system, bridging the gap between the Edwardian era and the modern age. Whether through the acoustic recordings of Beatrice Harrison or modern digital versions, the piece continues to be a primary example of Elgar's late-career style.