SIR EDWARD ELGAR (1857-1934)

Cello Concerto in E minor, Op.85 2005

I Adagio – Moderato

II Lento – Allegro molto

III Adagio

IV Allegro, ma non troppo

 

JOHANN SEBASTIAN BACH (1685-1750)

Suite No.1 in G for solo cello, BWV1007 1989

I Prélude

II Allemande

III Courante

IV Sarabande

V Menuetto I & II

VI Gigue

 

Suite No.2 in D minor for solo cello, BWV1008 1989

I Prélude

II Allemande

III Courante

IV Sarabande

V Menuetto I & II

VI Gigue

 

Jacqueline du Pré- cello

BBC Symphony Orchestra/ Sir John Barbirolli 4 1

 

There had been calls for Jackie to record the Elgar Concerto immediately after she had made her enormously successful orchestral début in London on 21 March 1962 with the BBCSO under Rudolf Schwarz. She had then astounded critics and audience alike by the depth of her understanding of Elgar’s ‘autumnal’ score. Du Pré’s association with the piece was further strengthened by her four consecutive Prom performances (between 1962 and 1965), which became something of a ritual for Londoners. One might add that she developed a special relationship with the BBCSO. She toured the USA with the orchestra in May 1965, and made firm friends with its leader, Hugh Maguire. When there was free time on hand they played chamber music with other members of the orchestra. Maguire also became her official trio partner for several months. As he recalled, her effect on the orchestra was magical; there were smiles all around, and the musicians sat up and gave their utmost when she played concertos with them.

 

From the various BBC radio recordings of her Elgar Concerto performances (made between 1962 and 1967), it is evident that Jacqueline’s perception of the piece matured and developed considerably from her initial accomplishment. As the security and technical prowess of her cello playing increased, so did her complete musical freedom.

 

In the evolution of her Elgar interpretation du Pré acknowledged the influence of Barbirolli’s vision. Sir John had early on acquired deep insights into the Elgar performing tradition. His own experience as an orchestral cellist had allowed him to witness Elgar’s distress at the ‘fiasco’ of the first performance of the Cello Concerto with Felix Salmond. It had been marred (if not ‘sabotaged’) through lack of rehearsal time. Subsequently Barbirolli performed the work as cello soloist in his own right and then as accompanist to other remarkable soloists, including Casals.

 

Barbirolli was probably the only musician from whom du Pré would accept advice. As his widow, Evelyn Rothwell, recalled: “Sir John helped Jackie to develop a sort of musical wisdom and tried to give her a little more tranquillity and to stop her giving out all the time.” She always gave careful consideration to Barbirolli’s suggestions about the Elgar Concerto, and he was always touched that she unfailingly absorbed his ideas. Amongst other things he taught her that by reining in her emotions at certain times, she could make them all the more telling at the appropriate moment.

 

Clive Smart recalled that the rehearsal process for ‘JB’ involved first talking through the performance at the piano rehearsal, (where the piano usually remained untouched). “JB’s interpretations were very personal, as he would go with the feeling of the music at the moment. But they were carefully thought out and well-prepared. He had a telepathic sympathy for Jackie and being a flexible accompanist was able to bend with the music.”

 

Extract from the booklet note Elizabeth Wilson, 2005

 

Testament SBT1388