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A Polish Overture by a British Composer: - Polish Music Center

At the Royal Academy of Music in he was highly commended but missed a scholarship. In he won the All-England Open Scholarship and in entered the Royal College of Music, where Whitehouse was a professor, remaining until From he took lessons in Brussels with Edouard Jacobs during the holidays. Among other commitments he had a regular trio with Rhoda Backhouse and Harold Samuel. Reed, Raymond Jeremy and William Murdoch. The generous Schuster footed the bill for this all-star ensemble and invited members of the musical press to hear the two works.

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On 21 May the same players were involved in the first public performances, at the Wigmore Hall, when the Violin Sonata, which had already been premiered, was heard as well. These were just two of the occasions when the eminent quintet performed the Elgar chamber works: W. Salmond was the natural choice for expert adviser on the Cello Concerto in E minor which Elgar now began writing. Soon Salmond was being consulted on various matters concerning the composition: on 5 June, and again five days later, he was at Severn House to try out what Elgar had written. One can imagine the Scherzo came up in the discussions—generations of cellists have struggled with the saltato bowing in it, and some famous names have fallen short.

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Salmond had a very serviceable technique, and with his huge hands could make enormous stretches, but he must have been tested. To his credit, he evidently did not persuade Elgar to compromise on the virtuoso demands of the Concerto. After tea they went through the Concerto, and after dinner they returned to it.

The cellist was so thrilled that he hardly slept that night. More work was accomplished on the following morning, and Salmond left after lunch. Back home at 7 Northwick Terrace, N. Will you tell Sir Edward that I played the Concerto through this morning by heart!!

Byrd and Elgar revisited by Bliss

May I prove myself entirely worthy of his great faith in my powers! It is a chance that but rarely falls to a young artist, and I intend to try my hardest to take the golden opportunity with both hands! If hard work can make it a success, Sir Edward can rely on my industry — Once again, warmest thanks for your many kindnesses. By 8 August the manuscript score was ready and Lady Elgar took the new Op.

October After As Lady Elgar indicated, those present were all, or almost all, keen Elgarians and appreciated the beauties of the Concerto, even though it was not the sort of upbeat effusion that many English people might have wanted, less than a year after the trauma of the Great War. Burley, Rosa and Frank C.