The 1965 EMI studio recording of Edward Elgar’s Cello Concerto in E minor, Op. 85, performed by Jacqueline du Pré with Sir John Barbirolli and the London Symphony Orchestra, established a performance benchmark that still shapes listening, scholarship and performance practice.
Why the du Pré recording remains the reference point
Jacqueline du Pré’s 1965 performance reached rapid critical acclaim on release; critics praised its emotional directness and technical command, and labels reissued it repeatedly, cementing its status as a definitive recording.
The recording paired an already sympathetic conductor, Sir John Barbirolli, with du Pré’s intense, youthful presence and EMI’s production values, creating an iconic interpretation that listeners and musicians return to for both historical context and immediate emotional impact.
Its dual appeal is plain: serious listeners study its phrasing and orchestral balance, while casual listeners recognize its dramatic first bars and intact emotional clarity.
The concerto’s post‑war mood and why du Pré fit the score
Elgar wrote the concerto in 1919; the music carries an elegiac, autumnal tone shaped by loss and reflection, most evident in the slow movement’s mournful lines and the work’s restrained gestures.
Performers generally choose either inward introspection or broader expansiveness; du Pré favoured concentrated intensity, which matched the score’s Elgar E minor Op.85 character and its thread of English pastoral melancholy.
Du Pré’s 1960s profile—an artist known for direct emotional communication and a lush sound—aligned with the concerto’s need for authenticity rather than mere display.
Behind the microphone: the 1965 studio session
The session combined Jacqueline du Pré, conductor Sir John Barbirolli, the London Symphony Orchestra and EMI’s production team; that specific mix affected tempo choices, balance and the recorded sonic footprint.
EMI engineers edited takes for continuity, but the team preserved the performance’s live immediacy by minimising heavy splicing and favouring full takes where phrasing and ensemble felt organic.
Alternate studio takes and contemporary live performances exist and are useful for comparative study; collectors should note catalog numbers and session dates to identify variants accurately.
What makes du Pré’s sound distinct: tone, vibrato, portamento and phrasing
Tone: du Pré produced a central, warm core sound with a penetrating top; that weight allowed her lines to sing above full orchestral textures without forcing air or losing colour.
Vibrato and portamento: she used a wide vibrato and tasteful portamento on long lines, as expressive tools rather than technical crutches, drawing vocal qualities from the cello.
Phrasing and bowing: du Pré shaped phrases with clear arching and varied bow distribution, combining short, incisive strokes with long sustained bows for climaxes and releases.
Interpretive choices such as tempo flexibility, frequent rubato and large dynamic contrasts deepen the concerto’s emotional arc but also generated criticism for sentimentality; defenders point to her communicative directness and persuasive narrative.
Movement‑by‑movement listening guide to du Pré’s interpretation
First movement: listen for the cello’s lyrical entrance—du Pré keeps line continuity while allowing micro‑rubato; note her dialogue with orchestral motifs and how she times breaths before long phrases.
Middle movements: the scherzo‑like interlude benefits from crisp articulation and rhythmic lift; the slow movement contains the work’s emotional core—du Pré places rubato on key cadential notes and draws out inner harmonies with steady bow speed.
Finale and coda: observe tempo choices in return material and how she balances resignation and consolation; the closing bars rely on controlled diminuendo and a measured, almost conversational, final line.
How critics, audiences and documentary culture shaped du Pré’s Elgar legacy
Immediate critical reaction framed the 1965 recording as a milestone; repeated reissues and rich liner notes reinforced its canonical status, turning a single studio session into a reference point for generations.
Documentaries, biographies and dramatizations—most notably feature films and televised interviews—amplified the recording’s myth, linking du Pré’s personal story to the performance’s emotional aura.
Scholarly reappraisals examine authenticity versus nostalgia, questioning how much interpretive fashion influenced reception while also defending the recording’s enduring communicative power.
Comparing du Pré with other landmark readings
Contrast axes are clear: du Pré emphasizes immediate emotional projection, whereas some readings—Rostropovich among them—favoured structural weight, architectural pacing and a different view of orchestral balance.
Practical listening pairs: listen to du Pré alongside Rostropovich for tempo and phrasing contrasts; pair du Pré with a modern cellist who adopts leaner vibrato to hear changes in timbre and line economy.
Choose a recording based on context: study phrasing with du Pré, examine orchestral integration with architecturally driven readings, and choose lighter interpretations for program variety.
Finding the best‑sounding du Pré: remasters, formats and streaming tips
Major reissue cycles include EMI remasters, audiophile box sets and high‑resolution releases; sound varies: vinyl often offers warmth, modern high‑res digital gives greater clarity and CD sits between both in neutrality.
Streaming: use reputable services that display label metadata and release dates; confirm the plate number or EMI catalogue entry to ensure you get the 1965 Barbirolli issue rather than a later live capture or reissue with alternate takes.
Buying guide: prefer official reissues, check seller reputations, and seek box sets that include session notes or alternate takes if you want context and comparative material.
Practice takeaways for cellists inspired by du Pré
Shaping long lines: practice sustained bows on open strings then transfer to concert pieces, focusing on breath points and single‑arch phrasing to avoid collapse in the middle of phrases.
Controlled portamento and vibrato: isolate short motifs and add measured portamento between target pitches; practice varying vibrato speed on sustained notes to match phrase intent without masking pitch clarity.
Bowing strategy: segment difficult passages into bow‑distribution maps—label down‑bow and up‑bow lengths, then practice at slow tempi with emphasis on consistent contact point to maintain tonal warmth.
Pedagogical cautions: avoid copying tone wholesale; adapt expressive gestures to your instrument, bow, and acoustic so clarity and intonation remain intact while you pursue depth.
Recommended companion listening and viewing
Recordings to pair: Rostropovich (for structural contrast), Mstislav Rostropovich historic live recordings, and selected modern cellists who offer leaner vibrato and different tempo choices to broaden perspective.
Documentary and archival footage: seek interviews, rehearsal clips and session films that show du Pré’s working methods and bow technique; these resources clarify her tempo decisions and expressive priorities.
Create a playlist that traces Elgar’s English style and related cello repertoire—include Walton, Britten and Vaughan Williams to place the concerto in its national and stylistic context.
Frequently asked questions about elgar cello concerto du pré
Is du Pré’s recording the definitive version? Many listeners and scholars still treat the 1965 EMI Barbirolli recording as the definitive recording for its combination of interpretive immediacy and historical impact, though “definitive” depends on your listening goals.
Where can I buy or stream the 1965 recording? Look for EMI’s catalogue listings and authorised reissues on major streaming platforms and specialist retailers; verify catalogue numbers and Barbirolli as conductor to confirm the 1965 studio issue.
How did Jacqueline du Pré’s illness affect performances? Her multiple sclerosis curtailed live appearances after the late 1960s; the 1965 studio recording remains a primary testimony to her peak artistic powers and is frequently cited in biographical studies.
Further reading and primary sources for editors and serious listeners
Authoritative materials: consult original EMI session notes, reputable liner notes in major reissues, and well‑regarded biographies that reference primary documents and interviews.
Scholarly sources and archives: check Elgar scholarship in musicology journals, national music archives and discography databases for session logs, and conservatoire libraries for annotated scores and conductor marks.
Discography pointers: use annotated discographies to compare session dates and take numbers; reliable online catalogues and specialist physical archives provide verification for research and editorial work.
