Gary Hoffman

Elgar Cello Concerto (Movements I & II) Masterclass Guide

Table of Contents
1. Overview of the Tempo Discussion in Movement II
2. First Movement: Opening Chords & Rolling Technique
Addressing the Three-Down-Bow Approach
Melodic Integrity vs. Declamatory Chords
Minimizing Accidental Crescendi When Rolling Chords
Creating a Smooth, Single Gesture in Rolled Chords
Avoiding Rhythmic Breaks in Chord-Breaking
3. Connecting the Introductory Phrase & Phrasing Details
Avoiding Excessive Separation into Three Parts
Breaths vs. Fermatas
Accents and the “Drop” in Pitch
Use of Bow Speed in Large Interval Drops
4. Further Reflections on Fingering & Bowing Freedom
5. Improvisatory Moments & Recitativo-Like Passages
Maintaining the Essence of 16ths
Feeling the Phrases as Searches vs. Downbeats
Alternate Bowings & Harmonic Flow
6. Tone, Articulation, and Expressive Techniques
Wistful vs. Sprightly Characters
Double-Jointed Challenges: Bow Hand & Vibrato Finger Joints
Securing Hand Balance & Palm Connection
7. Second Movement Tempo Issues
Allegro Molto vs. Animato vs. Più Mosso
Interpreting the “Recitativo” Before the Scherzo
Elgar’s Specific Ritardando Markings
8. Final Thoughts & Practical Takeaways
Overview of the Tempo Discussion in Movement II
“As impressive as it is to play the second movement that fast, what about the animato and the [più
mosso]? … Even if they’re not huge differences, they are appreciable enough that they are part of the
pacing of the movement.”
Key Insight: Hoffman notes three distinct levels of tempo in the second movement:
 1. Allegro molto (the basic fast tempo)
2. Animato (somewhat more animated)
3. A possible “più mosso” (often misheard as “pumoso”) or a subsection marking
While “Allegro molto” is already quite fast, Hoffman insists there should be a clear difference when
“animato” or “più mosso” sections appear. Even if these changes are subtle, they help shape the
overall pacing and character of the movement.
First Movement: Opening Chords & Rolling Technique
Addressing the Three-Down-Bow Approach
“Just to play the melody right... with the same bowing you used, meaning down, down, down. How
would that sound?”
Hoffman references a “three downs” bowing pattern on the opening chords (or chord-like gestures).
This is not unusual in declamatory melodic contexts, but can lead to crescendo or unevenness if not
handled carefully.
Melodic Integrity vs. Declamatory Chords
“In the end, all it is is a harmonized melody... it’s still a melodic line. It’s more forceful, but the nature of
the line and the integrity should remain.”
1. Parallel to Dvořák Concerto
Hoffman draws a comparison to the famous chordal entrance in Dvořák’s Cello Concerto,
noting that a “harmonized melody” remains a line even if it’s presented in big chords.
2. Maintaining a Melodic Arc
Avoid letting the forceful chord texture obscure the sense of phrase and melody.
Minimizing Accidental Crescendi When Rolling Chords
“Our tendency is to make a crescendo on the act of rolling the chord, feeling we’re bridging that gap.”
Common Pitfall: Cellists may build an unintended crescendo or “swoosh” into the chord.
Solution: Release the chord more naturally, with less sense of forced buildup.
Creating a Smooth, Single Gesture in Rolled Chords
“The breaking of the chord shouldn’t describe a strict rhythm... we want two-part motion but it forms
one curve.”
Technique: Rather than abruptly jumping across strings, imagine describing a smooth, rounded
path with the bow arm, so the broken chord doesn’t sound like “di-ya, di-ya.”
Hoffman suggests letting the middle of the chord be a natural transit between lower and upper
strings.
Avoiding Rhythmic Breaks in Chord-Breaking
“Try to create a slower roll, accentuating the middle two strings, so it feels like we pass through the
‘center’ of the chord.”
Takeaway: The chord is physically broken, but the musical result should be a single gesture, not a
staccato or mechanical pattern.
Connecting the Introductory Phrase & Phrasing Details
Avoiding Excessive Separation into Three Parts
“I feel this is one phrase, but it’s a little separated into three parts. … Despite the breath, I wouldn’t say
it implies a new phrase.”
Recommendation: Even where there is a breath or fermata, interpret it as a suspension rather than
a brand-new phrase. The line should keep moving forward to the next idea.
Breaths vs. Fermatas
A fermated bar or note may involve a pause, but not necessarily a break in continuity.
Overemphasizing each pause can create an unintended fragmentation.
Accents and the “Drop” in Pitch
“What makes [the notes] truly memorable is the drop between them, so maybe you need to save more
bow just for that drop.”
1. Large Intervals: Elgar’s writing often features leaps where a lower note arrives dramatically.
2. Bow Management: Allocate enough bow so that you can accent or express the lower pitch instead
of running out of space and restricting the dynamic or color.
Use of Bow Speed in Large Interval Drops
“Where you need speed is as you drop, because that’s where the sound could crack if you choke it.”
Key Point: The potential for a scratch or “crack” is high if you approach the lower note with
insufficient bow speed or forced pressure.
Further Reflections on Fingering & Bowing Freedom
“Sometimes you choose a fingering so you can do one kind of shift, or another, because you’re free to
do both.”
 Flexibility: Hoffman highlights that part of artistry is exploring multiple possibilities (bowings, shifts,
fingerings) so you can adapt in real time rather than being locked into a single pattern.
Improvisatory Moments & Recitativo-Like Passages
Maintaining the Essence of 16ths
“When they come in the fourth movement, Elgar writes them as actual 8th notes. … So here, it’s free,
but they’re still 16ths.”
Advice: Even in cadenza-like or recitativo passages, keep an underlying sense of pulse or note-value
integrity. Don’t artificially stretch them into random durations if the composer’s intention is a
sequence of 16ths.
Feeling the Phrases as Searches vs. Downbeats
“It’s a little like Bartók—like it’s a question. It’s seeking, searching, not assured.”
Hoffman suggests that the early measures or incomplete harmonic lines might feel more like
questions, helping shape the expressive direction.
Alternate Bowings & Harmonic Flow
“Elgar probably didn’t notate the exact bowing for these slurs; it might have crept in later. So I
wouldn’t take it as a final word on bar-by-bar phrasing.”
Encourages experimenting:
Try two notes slurred + one separate or other permutations.
Let harmonic resolution bars carry a sense of arrival and shape your bow distribution
accordingly.
Tone, Articulation, and Expressive Techniques
Wistful vs. Sprightly Characters
“Maybe not so sprightly, but rather a wistful sigh. Like you’re stuck in your flat in London on a rainy
day.”
Emotional Imagery: Hoffman often employs everyday or atmospheric images to guide the
expressivity (e.g., rainy London).
Sighing Quality: Emphasize a longing or gentle descent rather than a bright, energetic style.
Double-Jointed Challenges: Bow Hand & Vibrato Finger Joints
“If you can bend your thumb—is that comfortable? Does it cause tension?”
 1. Bow Thumb: Some cellists with a hyperextended (double-jointed) thumb must adapt or accept
certain positions.
2. Left-Hand Fingers: Hoffman also points out a collapsing or lateral motion in upper positions,
potentially leading to a loss of center in the vibrato.
Securing Hand Balance & Palm Connection
“You need to feel some type of connection between the playing finger and your thumb. … As if you
were to hold something between them.”
Method: Imagine gently gripping an object to unify the contact between thumb and finger, ensuring
a stable vibrato and preventing the finger from “knocking over” sideways or collapsing.
Palm Awareness: Shifting from finger to finger changes the contact zone in the palm—be mindful of
that subtle change.

Second Movement Tempo Issues

Allegro Molto vs. Animato vs. Più Mosso
“It’s allegro molto. It’s not a presto, but allegro molto is fast. Then we have the animato … If you
realized yourself that it was faster than— Well, that’s exactly it.”
Hoffman clarifies the importance of differentiating these levels even if the difference is not large.
Each provides pacing variety and shape in the movement.
Interpreting the “Recitativo” Before the Scherzo
“He’s very clear about certain bars, the ritardando starting earlier … It's rarely ever played that way,
but it might be interesting to see what he’s suggesting.”
Detailed Rits: Elgar specifies subtle placements for ritardando that can yield a freer, improvisatory
“recitativo” effect if followed carefully.
Elgar’s Specific Ritardando Markings
Often Overlooked: Musicians might over-simplify or hold a single fermata instead of applying a
slow-down across multiple beats, losing Elgar’s nuance.
Try Strictly: Hoffman encourages occasionally trying an almost literal reading to discover new
expressive possibilities.
Final Thoughts & Practical Takeaways
1. Tempo Layering
Make sure the second movement’s Allegro molto, Animato, and potential più mosso are
distinguishable yet cohesive.
2. Rolled Chords & Opening
Treat chord breakings as one musical gesture with melodic continuity, not a sequence of
rhythmic lumps.
3. Phrasing & Breathing
A fermata or breath doesn’t always signal a new phrase. Consider continuity and direction.
4. Hand Mechanics
Double-jointed thumbs/fingers require specialized adjustments. Feel a stable “bridge” between
thumb and finger to maintain tone focus.
5. Literal vs. Interpretive Markings
Check Elgar’s distinct instructions (ritardandos, etc.) to see if adhering more literally reveals
interesting dramatic pacing.