Accompanied by the Baltimore Symphony Orchestra, the American cellist Yo-Yo Ma performs Edward Elgar’s Cello Concerto in E minor, Op. 85. Conductor: David Zinman. This performance was recorded at the Alte Oper Frankfurt on November 19, 2021.
Edward Elgar’s Cello Concerto in E minor, Op. 85
The concerto was written during a period when Elgar’s romantic, late-Victorian style was beginning to fall out of favor with the public and critics. He was recovering from surgery when he composed the work, and this sense of personal struggle is woven into the music. Unlike the grandeur and bombast of some of his earlier works, the Cello Concerto is marked by restraint, introspection, and a sense of resignation. The orchestration is deliberately sparse, allowing the cello to remain the central voice, often emerging as a solitary figure amid subdued, melancholy orchestral textures.
The piece is known for its lyrical beauty and emotional depth. The cello’s voice alternates between wistful melancholy, contemplative introspection, and bursts of passionate intensity. Elgar masterfully exploits the cello’s range and expressiveness, using it to convey a complex array of emotions. The themes are often tinged with sadness, yet there are moments of warmth and tenderness that offer fleeting solace. The harmonic language is rich and nuanced, with poignant modulations that heighten the emotional impact.
Elgar’s Cello Concerto did not achieve widespread recognition upon its premiere. The first performance, conducted by Elgar himself with cellist Felix Salmond, was hindered by insufficient rehearsal time and overshadowed by other works on the program. However, the concerto’s stature grew over time, particularly in the latter half of the 20th century, when cellist Jacqueline du Pré’s celebrated interpretation brought it renewed attention and acclaim. Her recording is often cited as one of the greatest performances of the work and contributed significantly to its enduring popularity.
Today, Elgar’s Cello Concerto is regarded as a masterpiece of the cello repertoire, cherished for its sincerity and emotional honesty. Its themes of loss, introspection, and fleeting beauty continue to resonate with audiences, making it a powerful and timeless work. The concerto stands as a testament to Elgar’s ability to channel personal and collective grief into music that transcends its time, offering a profound and moving experience for listeners.
Partly due to its disastrous premiere, the work did not achieve wide popularity until the 1960s when a recording by the British cellist Jacqueline du Pré (26 January 1945 – 19 October 1987) caught the public imagination and became a classical best-seller.
A disastrous premiere
The premiere of the work was on 27 October 1919, at the opening concert of the London Symphony Orchestra’s 1919-20 season. Apart from the concerto, which the composer conducted, the rest of the concert program was conducted by the English conductor and composer Albert Coates (23 April 1882 – 11 December 1953), who overran his rehearsal time at the expense of Elgar’s.
Alice Elgar (9 October 1848 – 7 April 1920), Edward Elgar’s wife wrote: “…that brutal selfish ill-mannered bounder… that brute Coates went on rehearsing.”
So, Edward Elgar and the performers did not have enough rehearsal time to perform well.
The soloist was the English cellist Felix Salmond (19 November 1888 – 20 February 1952). Elgar attached no blame to him, who played for him again later. Elgar said that if it had not been for Salmond’s diligent work in preparing the piece, he would have withdrawn it from the concert entirely.
Movements
1. Adagio – Moderato
The first movement of Edward Elgar’s Cello Concerto in E minor, Op. 85, marked Adagio – Moderato, is a beautifully introspective and poignant opening to the concerto. Structured in ternary form with an introduction, the movement begins with a deeply expressive recitative for the solo cello. This solo passage, almost improvisatory in nature, establishes the contemplative and somber mood of the piece. It is immediately followed by a brief, restrained response from the clarinets, bassoons, and horn. The solo cello then plays a modified scale, leading into the introduction of the main theme.
As the movement transitions into the Moderato section, the viola section gently introduces the primary theme, which is then taken up and repeated by the solo cello. This melody held special significance for Elgar, who remarked that if one were to hear someone whistling it in the Malvern Hills, it would be him. The orchestral strings restate the theme a third time, after which the solo cello transforms it into a powerful, fortissimo statement, filled with intensity and passion. The orchestra echoes this statement, reinforcing the emotional weight of the passage.
Following this, the music transitions into a lyrical middle section in E major, providing a moment of warmth and tenderness. This contrasting section offers a brief respite from the melancholy of the primary theme. The movement then returns to the original material, omitting the earlier fortissimo modification of the theme. The introspective nature of the opening is revisited, bringing the movement to a reflective close.
Elgar’s Adagio – Moderato captures a profound sense of melancholy, resignation, and introspection, setting the tone for the rest of the concerto. The seamless transition into the second movement enhances the feeling of continuity and emotional depth.
2. Lento – Allegro molto
The second movement of Edward Elgar’s Cello Concerto in E minor, Op. 85, marked Lento – Allegro molto, provides a striking contrast to the introspective first movement. The movement opens with a brief but dramatic Lento introduction. A fast crescendo sets the scene, punctuated by sharp pizzicato chords in the cello, creating a sense of anticipation and energy. Immediately following this, the solo cello introduces the primary motive that will dominate the Allegro molto section. This opening gesture feels almost like a call to action, hinting at the movement’s upcoming vitality and drive.
As the music transitions into the Allegro molto, the energy fully comes to life. The solo cello launches into a lively, almost playful series of pizzicato chords, which add a rhythmic bite to the piece. A brief, expressive cadenza follows, where the cello engages in rapid, virtuosic passages. The soloist then continues with a flurry of sixteenth-note motives, interspersed with more forceful chords, showcasing the soloist’s technical prowess and agility. These rapid, intricate passages provide an exhilarating contrast to the more somber tone of the first movement.
A subtle ritardando briefly slows the momentum before the piece shifts into a scherzo-like section that dominates the remainder of the movement. This section is characterized by its lightness, playfulness, and quick-paced rhythms, as the cello dances through the energetic lines. The music remains spirited and full of momentum until the very end, delivering a sense of lively exuberance.
The Lento – Allegro molto movement, with its dynamic interplay of intensity and light-heartedness, adds a sense of contrast and excitement to the concerto. It demonstrates Elgar’s ability to blend lyricism, drama, and technical brilliance in a way that keeps the listener captivated.
3. Adagio
The third movement of Edward Elgar’s Cello Concerto in E minor, Op. 85, marked Adagio, is a deeply expressive and poignant interlude that provides a moment of profound introspection. This slow movement is characterized by a single, lyrical theme that threads its way throughout, lending the music a sense of unity and seamless continuity. The cello’s voice takes center stage, singing with a warmth and tenderness that is both delicate and heart-rending.
The movement opens with the solo cello presenting the lyrical melody, imbued with quiet, reflective melancholy. The simplicity of the theme, coupled with the richness of the cello’s tone, creates an atmosphere of intimate vulnerability. The orchestral accompaniment is subtle and restrained, allowing the soloist’s expressive line to shine while offering gentle support. Elgar’s use of harmonic shifts and delicate dynamics enhances the emotional depth, drawing the listener into a world of quiet contemplation.
Throughout the movement, the theme evolves with subtle variations, yet retains its essential character. The music feels introspective and personal as if Elgar is sharing a private moment of reflection or lament. The phrasing is marked by a sense of longing, and the solo cello’s lines are infused with an almost vocal quality, as though expressing unspoken words. The orchestration remains sparse, ensuring the focus stays on the soloist’s intimate narrative.
The Adagio maintains its lyrical and contemplative nature until the very end. Rather than concluding definitively, the movement gently transitions into the final movement without a pause. This seamless flow into the finale reinforces the sense of continuity and emotional depth that defines the entire concerto.
This movement captures Elgar’s mastery of lyrical writing and his ability to convey deep emotion through simplicity and restraint. It is a moment of stillness and introspection within the broader emotional journey of the concerto, offering a tender contrast before the dramatic energy of the finale unfolds.
Related: Elgar – Cello Concerto [Truls Mørk]
4. Allegro – Moderato – Allegro, ma non-troppo – Poco più lento – Adagio
The fourth and final movement of Edward Elgar’s Cello Concerto in E minor, Op. 85, marked Allegro – Moderato – Allegro, ma non-troppo – Poco più lento – Adagio, is a complex and emotionally charged conclusion to the concerto. It encapsulates a range of moods and ideas, offering a compelling resolution to the journey that began in the first movement.
The movement opens with a fast crescendo, creating a sense of urgency and momentum. This powerful orchestral surge quickly gives way to the solo cello, which enters with a commanding recitative and cadenza. These passages highlight the cello’s expressive and virtuosic capabilities, while also recalling the introspective spirit of the first movement. The main theme soon emerges, noble and stately in character, yet tinged with a sense of unease. Elgar’s use of frequent key changes and shifting harmonies adds layers of complexity and subtle tension to this otherwise dignified theme.
As the movement progresses, the solo cello weaves intricate lines, alternating between moments of drama and introspection. The interplay between the soloist and the orchestra maintains a dynamic tension, with bursts of intensity tempered by more reflective passages. The music’s emotional landscape is constantly evolving, capturing a sense of struggle, resignation, and fleeting hope.
Toward the end of the movement, the tempo slows into a più lento section, introducing a new set of themes. This section has a contemplative, almost dreamlike quality, offering a brief respite before the final climax. The tempo then slows further, returning to the Adagio pace of the third movement. The lyrical theme from the third movement is restated, bringing a sense of nostalgia and emotional closure. The music continues to decelerate, becoming almost stagnant as the orchestra holds a suspended chord.
In a powerful moment of recollection, the recitative from the first movement reappears, seamlessly transitioning into a reprise of the fourth movement’s main theme. The tension builds one final time, culminating in three resolute fortissimo chords that bring the concerto to a decisive and poignant close.
Elgar’s finale is a masterful synthesis of the concerto’s themes and emotions, encapsulating dignity, melancholy, and introspection. It leaves the listener with a sense of profound resolution, marking the end of one of the most expressive and deeply personal works in the cello repertoire.
Sources
- Cello Concerto (Elgar) on Wikipedia
- Edward Elgar on Wikipedia
- Cello Concerto, Op. 85 (Elgar, Edward) on the International Music Score Library Project website
- “Cello Concerto in E minor, op 85” on the Elgar Society website
- Cello Concerto in E Minor, Op. 85 (work by Elgar) on the Encyclopedia Britannica website
- “Cello Concerto” on elgar.org
