Cello Concerto (Sullivan)

Background and 19th century performances

Sullivan embarked on his composing career in the 1860s with a series of ambitious works, interspersed with hymns, parlour songs and other light pieces. At the concert at which the 23-year-old Sullivan's Irish Symphony was first performed in April 1866, the Italian cellist Alfredo Piatti played the Schumann Cello Concerto. Piatti's playing prompted Sullivan to compose a new concerto for him.

The concerto was first performed on 24 November 1866 at the Crystal Palace, London, with August Manns conducting. There were few cello concertos in the repertoire in the 1860s. Those by Dvořák (1895), Saint-Saëns (1872 and 1902), Elgar (1919) and Shostakovich (1959 and 1966) were yet to come; concertos from earlier centuries such as those of Vivaldi and Haydn had fallen into neglect. Even the Schumann, composed sixteen years before Sullivan's, was far from a regular repertoire piece at the time. Nonetheless, there were only two more complete performances of Sullivan's concerto during his lifetime. Piatti played the work in Edinburgh on 17 December 1866, and there was an amateur performance in London in February 1887. The first two movements were played at a Covent Garden promenade concert in October 1873, conducted by the composer, with Walter Pettit as soloist. Sullivan's biographer Arthur Jacobs considers it remarkable that the work fell into neglect, surmising that Sullivan or Piatti, or both, decided that it was unsatisfactory, possibly because of the brevity of the first movement.

20th century performances; reconstruction

In the early 20th century there was a single performance by the soloist May Mukle with the Bournemouth Municipal Orchestra conducted by Dan Godfrey; after that the work was not heard again until the final performance of the original score, given by William Pleeth and the Goldsbrough Orchestra conducted by Charles Mackerras in a concert for the BBC Third Programme, broadcast live on 7 July 1953.

The concerto was not published, and in May 1964 the manuscript score and orchestral parts were destroyed in a fire at the publishers, Chappell & Co. The reconstructed work was given at a London Symphony Orchestra concert at the Barbican, London, on 20 April 1986. Julian Lloyd Webber was the soloist, and Mackerras conducted. The work was recorded again in 1993 by Martin Ostertag with the Southwest German Radio Symphony Orchestra conducted by Klaus Arp, and in 2000 by Paul Watkins with the BBC Symphony Orchestra and Mackerras.

The reconstructed score was published by Josef Weinberger, London, in 1986. A piano reduction by Mackie was published at the same time.

Musical analysis

The proportions of the concerto are unusual: the first movement – customarily the longest and most symphonically structured movement of a concerto – plays for only three and a half minutes. The other two movements run about seven minutes each.

;Allegro moderato Using the notes of the tonic triad (D, F and A), the Allegro opens with a burst of energy, It segues into the next movement, by way of a brief cadenza.

;Andante espressivo The slow movement, a sweetly songful andante, was praised at the time of the première, and it was suggested that it should be transcribed for church organ.

;Finale: molto vivace The finale returns to the energetic vein of the opening of the concerto, in what the conductor Tom Higgins calls "an extraordinary burst of drive and melodic power". Once the brisk mood is established Sullivan brings back the exuberant opening theme of the concerto, before a gentler interlude followed by some energetic but not conspicuously tuneful passagework leading to a lively variant of the opening bars of the finale and, after some further bars of passagework, a conventional closing flourish.

The orchestration and the string writing for the soloist show Sullivan's habitual grasp of the capabilities of all instruments, but commentators have not found the actual themes memorable. The Gramophone review of the 1986 recording concludes: "Never does the work build up to any really satisfying effect, however much the themes may initially promise".

Notes, references and sources

Notes

References

Sources

References

1. Jacobs, pp. 35–42
2. Reviewing the first performance, ''[[The Times]]'' called the work not a concerto, but a [[concertino (composition)
3. [https://www.jstor.org/stable/3351909 "Musical Society"], ''The Musical Times'', May 1866, pp. 288–289
4. Higgins, p. 3
5. Jacobs, p. 42
6. "M. Rivière's Promenade Concerts", ''The Daily News'', 20 October 1873, p. 2
7. Sands, John. [https://gsarchive.net/articles/sull_proms/index.html "Sullivan and the Covent Garden Promenade Concerts"], The Gilbert and Sullivan Archive, 26 December 2009, retrieved 28 July 2022
8. Jacobs, Arthur. Programme notes for premiere of reconstructed version, London Symphony Orchestra, April 1986
9. Mackie, p. 170
10. [https://web.archive.org/web/20151004082337/http://genome.ch.bbc.co.uk/933af80c2a7c464cb6101e8cc3c63315 "Orchestral Concert"], BBC Genome, retrieved 2 October 2015
11. A copy of the solo part, with indications of some orchestral cues survived, as part of the [[Morgan Library & Museum
12. The same performers recorded the work for [[EMI Classics]] immediately afterwards.Higgins, back cover
13. Amati CD AMI 9703 {{oclc. 45410550
14. [https://www.worldcat.org/oclc/46370629 "Macbeth overture; Cello concerto; Te Deum (1872)"], WorldCat, retrieved 2 October 2015
15. [https://www.worldcat.org/oclc/14520849 "Sullivan: Concerto for violoncello & orchestra""], WorldCat, retrieved 2 October 2015
16. Mackie, p. 173
17. Andrew Lamb]]. Review, ''The Gramophone'', February 1987, p. 1122
18. Higgins, p. 5
19. [[Noël Goodwin. Goodwin, Noël]]. "LSO/Mackerras Barbican", ''The Times'', 22 April 1986, p. 15; and Cole, Hugo. "Sullivan Cello Concerto", ''The Guardian'', 21 April 1986, p. 15