I’m currently working on the final touches of the Arpeggione Sonata, and in between, I’ve started sequencing Elgar’s Cello Concerto. This piece seems to have been widely rediscovered thanks to the passionate performance of the brilliant but short-lived cellist, Jacqueline du Pré. However, for me, her interpretation feels a bit too intense—I feel that expressing it with a bit more depth might better suit the character of the piece. That being said, thanks to her, this concerto is now recognized as one of the great masterpieces for the cello.
Now, about the sequencing—The highly evocative cadenza at the beginning could be seen as foreshadowing the entire piece. That’s why the way this section is played immediately shapes the listener’s impression of the work.
In particular, the opening four double stops—how to approach their pervormance is crucial. Here, Elgar specifically marked nobilmente (noble, dignified), which is something that stands out when considering Jacqueline du Pré’s passionate interpretation. That intensity is where I find myself slightly at odds with her approach.
I’m also experimenting with different ways to shape the transition leading to the glissando in the fourth measure, exploring how best to bring it out in the performance.
Also, since this is my first time fully sequencing a concerto with brass, woodwinds, strings, and timpani, I’m really enjoying the process. To begin with, I’ve decided to input the solo cello part first to establish the overall atmosphere of the piece before moving on to the orchestration. Since I’ll be carefully examining each part as I go, I expect this to take quite some time—so for now, my goal is to complete the first movement.
A review of Beethoven's late piano sonatas is also in the works, so let's see what happens....