Edward Elgar (1857-1943) created another peak in the development of classical music in the United Kingdom that had not been seen for over 200 years. The unique style and language in his works was a product of the influence of classic traditions and the contemporary trend of his time. His Cello Concerto in E minor, op. 85, is considered to be his last notable work. Though it is the performance of the British cellist Jacqueline du Pré (1945-1987), with its intuitive, gifted, and personal touch, that has become widely known regarding this work, this paper is based on the recording performed by another British cellist Beatrice Harrison (1892-1965) and conducted by Elgar himself, along with the score of this piece and related historical materials. It seeks to further explore the other possibilities of performance and interpretation for Elgar’s Cello Concerto, from a perspective closer to the ideas of the composer.
This paper contains four chapters and a conclusion. The first chapter is an introduction to the research motive and contents for this paper, with textual analysis of the qualitative approach as its main research method. The second chapter deals with the background and recordings of this work, discussing the background for the creation of this cello concerto and the recordings of the two most representative English cellists, as well as other versions of recording prior to 1965; the third chapter is the analysis of composition, comprising the author’s observation and analysis regarding this music. The fourth chapter illustrates the musical interpretation, connecting the author’s understandings as expressed in chapters two and three, representing the result of verbal explanation and personal experiment. The conclusion sums up the discoveries and feelings during the research process as whole.
In a nutshell, the research of this paper finds that what makes Elgar’s Cello Concerto so appealing lies in the composer’s deep feelings, evident in his cohesive yet versatile arrangement of all the details, expressed through his compact and concise approach of composition. This inspired the author to reflect on what the conditions are for becoming a performer: to reach the pinnacle, one must take each and every step steadily, without tolerating any laziness and compromising any imperfection. Within this strict and meticulous process, however, an open-minded attitude is needed. Every individual is allowed to have their own interpretations of the music from their perspectives, without differentiation of good or bad towards the music in and of itself, just as Mother Nature embraces and tolerates all beings and creatures. As a performer, the author was delighted and very grateful to have the opportunity to explore this piece of music, and to have experienced the scope that goes beyond restricting oneself by merely listening to one so-called “seminal” recording.
/Jing–Zhen Huang Cello Recital
L. Boccherini: Cello Sonata in G major, G. 5
R. Schumann: 5 Stücke im Volkston, Op.102
J. S. Bach: Suite for Violoncello Solo No. 4 in Eb major, BWV 1010
D. Shostakovich: Sonata for Cello and Piano in d minor, Op. 40