he didn’t and it remains one of the most English of all pieces of English music. He came around from the anaesthetic after an operation to remove an infected tonsil with this tune already in his head, so he wasn’t going to let it go to waste. 1 in E-Flat Major for Cello and Orchestra: II. 1 in E-Flat Major for Cello and Orchestra: I.
Now, he was seriously wondering whether some critics were right to write him off as a spent force. Listen to Shostakovich: Cello Concerto & Sonata for Cello and Piano by Yo-Yo Ma on Apple Music. In fact, he had already been acknowledged as a national treasure for some time. In 1918, and aged sixty-one, he had gone through the period of his life where he would have been regarded as a budding composer. Perhaps the timing of the composition explains it all.
if they don’t make you wait until the slow movement – and many do – for their crux, they at least keep the listener waiting through a short orchestral introduction. Most concertos take a little time to come to their main point. Somebody once said that the way Elgar chooses to open his Cello Concerto, with those tortured chords sounding as if they have to be excavated from the cello face, is as if Shakespeare had started Hamlet at ‘To be or not to be’. 9 In B Flat Major, G 482 - Antonio Vivaldi: Cello Concerto In E Minor, RV 40 by Lucerne Festival Orchestra, Rudolf Baumgartner & Pierre Fournier on Apple.
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