Concerto for violoncello and orchestra, e-moll, op.85

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Concerto for Cello and Orchestra, op. Concerto for Cello and Orchestra in E minor, op. Lentto - Allegro molto. Lento; Allegro molto. Cello Concerto in E minor op. Allegro Molto. Sir Edward Elgar. Lento-allegro molto. London Symphony Orchestra , George Richter.

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Cello Concerto in e minor, Op. Edward Elgar. Lento - Allegro Molto. But in the wake of the First World War, which had forever shattered the old certainties, many were wondering what this brave new world promised. The Cello Concerto's autumnal, sunset-romantic sensibility has appealed to generations since. Elgar also conducted the first recording in an abridged version the following year.

Johannes Moser & Jacek Kaspszyk perform Elgar's Cello Concerto in E minor, Op. 85

In some ways, the Concerto continues the more economical and compressed line of thinking Elgar had been exploring in his recent chamber works. The composer had developed a sudden interest in chamber music toward the end of the Great War - perhaps resulting from the need for a more-intimate form of expression. The cello takes the spotlight at the very start of the four-movement work with a dramatic recitative. This immediately establishes the vivid presence the soloist will maintain throughout the entire work, whether the mood tends toward quiet contemplation or passionate expression.

Bärenreiter Verlag - Edward Elgars Konzert op. 85

Elgar dramatizes the interplay between soloist and orchestra with continually inventive touches. Notice, for example, how the violas first trace the elegiac main theme - easily recognizable from its lilting, wavelike motion - before the cello elaborates its deeper implications.

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  4. This is the theme that does posthumous service as a leitmotif in the film Hilary and Jackie as the identifying "tag" for the whole Concerto. Another brand of melancholy meanwhile emerges in the second theme. The contrast between the two in a sense implies the difference between public and private grief. An extraordinary transition leads into the second movement as Elgar introduces another recitative, this time based on low plucked notes.

    The soloist seems reluctant to set its elegiac frame of mind aside, but a light-hearted scherzo ensues, pulsating with rapid-fire repetitions. Elgar has now prepared a richer context for the Adagio's tragic sensibility, its distillation of grief. The attitude of leave-taking, however, conveys a serenity utterly free of self-pity.

    The composer's touching melody embodies the familiar psychological experience of double-edged memories whose consolation is inseparable from the pain they unavoidably trigger. In Elgar's unusual formal design, the finale becomes the longest of the four movements. Once again a recitative-like cadenza for the cellist serves as a transition from the Adagio and as a prelude before the finale proper launches.

    Cello Concerto (Elgar)

    Springing to life with a rhythmically lively main theme, this highly varied movement contains much drama as it steers a path between confident assertion and introspection. Toward the end, a slower, graver theme elicits the cellist's utmost eloquence. Flashbacks to previously heard material cast a shadow against the music's dying glow. The tempo then quickens for an impassioned adieu.

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    Concerts of this composition

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    Concerto For Cello And Orchestra In E Minor Op.85

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