Elgar Cello Concerto: The classic interpretation

eha545-002-hf

Jacqueline du Pré’s 1965 recording of Elgar’s Cello Concerto set the benchmark for every cellist who followed her. Tully Potter explores the enduring popularity of her powerful and iconic performance

Although Jacqueline du Pré was not the first great player to record Elgar’s Cello Concerto, the performance that she, the London Symphony Orchestra and John Barbirolli set down on 19 August 1965 became an instant classic. The first two movements, taped virtually in one take, provoked applause from the orchestra, who had been grumpy at the start of the morning. Word got around EMI that something special was going on at Kingsway Hall, London, and by the end of the afternoon many staff were sitting at the back of the venerable venue (now replaced, like St James’s Hall and Queen’s Hall, by a hotel). With a sympathetic producer, Ronald Kinloch Anderson, an expert engineer, Christopher Parker, and a well-established rapport between 20-year-old soloist and veteran conductor, the auguries were good.

Subscribe now to keep reading …

This article is available exclusively to subscribers – subscribe now

Already subscribed? Please sign in

Strad subscription

We’re delighted that you are enjoying our website. To access this content you need to be a subscriber.

As a subscriber you’ll receive:

  • Monthly issues* packed with news, interviews and features
  • Special supplements including Accessories, Degrees, Cremona and String Courses
  • A monthly digital edition and an archive of online issues going back to January 2010
  • Full access to all premium online content on thestrad.com
  • Two posters a year and the annual Strad Directory*

*To receive the posters, the Strad Directory and issues and supplements in print, you will need to take out a print + online package

 If you are not ready to subscribe, register now to enjoy a selection of free content (excludes premium subscriber-only articles)