Cello Concerto in E-flat major - Havergal Brian

BBC Concert Orchestra conducted by Martin Yates. Raphael Wallfisch as the cello soloist. I - Allegro - Più lento: 0:00 II - Andante: 8:21 III - Allegro moderato - Tempo grazioso e cantabile: 14:58 Brian's Cello Concerto was written in 1964, amidst a period of feverish symphonic writing. It was premiered in 5 February 1971, by the Polyphonia Orchestra conducted by Sir Adrian Boult, with Thomas Igloi as the soloist. It was characterised by Meirion Bowen as "a largely lyrical conversation piece for soloist and small orchestra, a deckchair dialogue on a sunny afternoon". Certainly, the small orchestra and near-absence of percussion (there is a side drum, very sparingly used) is most uncharacteristic of Brian at this or any other time. The first movement, in a modified sonata form, contains many references to Baroque figuration. Starts with the orchestra outlining a vivacious first theme of light character. The cello takes the theme and presents it in dialogue with the orchestra. After an orchestral passage, a lyrical yet highly chromatic second theme is presented. The development is playful and varied. After an orchestral climax, follows a solo of the cello, leading to a contrastingly lyrical section, breaking the standard sonata form. The music rises in a dissonant climax. The movement ends with a calm and noble coda. The second movement is written in binary form. Starts with a pompous and Elgarian theme presented by the cello. This theme is developed by the soloist along with the orchestra. The ambient becomes darker and tense before reaching a climax. The second section opens with a new theme in which we can hear echoes of Vaughan-Williams. After a firm climax, the music slowly fades away. The third movement is structured as a rondo. Begins with an ambiguous theme in two parts: a galumphing, sharply rhythmic idea in 6/8 and a more flowing idea initially appearing in the cell in parallel sixths. Brian, however, varies both ideas on their reappearance and the episodes themselves seem to flower from those cells. It's nearly continuous variation. Brian's use of the technique doesn't lead to confusion, but a psychological deepening, a "fleshing out," a sense of completing the world. Musical analysis partially written by myself, based on a review that is no longer available. Unfortunately the score is not freely available.