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Brian Elias

Publisher: Chester Music

Cello Concerto (2015)
Chester Music Ltd
Soloists and Orchestra
Year Composed
25 Minutes
Solo Instrument(s)
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Programme Note
Brian Elias Cello Concerto (2015)
This Concerto is in four main sections that are played without a break. As with most of my work, the music throughout is generated from the ideas presented in the first few bars, and these ideas and their variants appear freely in the different sections. Recurring material and references to earlier sections are used deliberately to create not only a sense of unity but also an impression of familiarity that aspires to induce a dream-like perception of the passing music, a kind of spiral.

This work is dedicated to Natalie Clein.

© 2017 Brian Elias

Elias’ concerto is altogether a striking achievement.
Paul Driver, The Sunday Times,20/08/2017
…a genuinely rewarding work, in four substantial movements which are intricately laced together thematically. The cello writing seems thoroughly idiomatic too, always aware of what cellos can do best, while Elias’s orchestration is tactful enough to ensure that the soloist is always in charge of the musical argument.
Andrew Clements, The Guardian,10/08/2017
A late replacement for the work’s dedicatee Natalie Clein, Leonard Elschenbroich brought a single-minded intensity to the knotty solo part, but the relationship between his insistent questioning and the intricate orchestral textures behind him remained tantalisingly unclear. This a work that, like the Elgar, is unwilling to give up all its secrets.
Alexandra Coghlan, The Independent,10/08/2017
[Elschenbroich's] opening phrase established a mood of mournful ecstasy, occasionally mitigated by skittish humour. Sometimes soloist and orchestra swapped ideas, sometimes they worked in unison, sometimes in opposition, creating intricate musical patterns that were full of abstract colour: precisely what you want from a cello. The sudden, bracing ending left everything in mid-air.
Nick Kimberley, Evening Standard (London),10/08/2017
Its four movements, played without a break but with obvious changes of mood, are scored with great delicacy. There is a clear motto, statements of which lead the listener through the music, and Elias deploys all his material with great economy. The relationship between soloist and orchestra, either in dialogue or in contrast, is relatively straightforward to follow, and there are plenty of big gestures at critical moments defining the work’s shape.
Peter Reed,,09/08/2017
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