Thesis (M.M.)--University of Rochester, 1944. / Typewritten. Bibliography: p. [64-65]. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/2081

Thesis (D.M.A.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

No description available.

Diss.--Freiburg (Brisgau), 2000. / Bibliogr. p. 323-335.

Thesis (D. Mus. Arts)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 254-263).

Thesis (M. Mus.)--University of Queensland, 2002. / Includes bibliographical references.

Thesis (D.M.A.)--University of Maryland, College Park, 2006. / Includes bibliographical references and discography (leaves 78-81).

Not available / text

The repertoire of soloistic for cello is far narrower than those of other concertante instruments. So we tend to think that we know well of all the regularly performed cello concertos, in which the Elgar Concerto is among them.However, besides the concerto itself and some populare songs, variations or marches, there is little knowledge about the and work of the composer. Moreover, we have to take into account the massive influence of Jacqueline deu Pré, whose very personal and passionate performance has become an almost absolute point of refernece, above the annotations of Elgar himself. My work aims to give a broader approach to Edward Elgar ande his cwork, and to give an interpretation proposal, after having consulted the composers´marks and recordings, and contrast it with the opinions of other prestigious cellist ( Han-Na Chang and Kazimierz Michalik).

It is the object of this paper to review Sir Edward Elgar's life as a composer, and to discuss and study the thematic elements of his oratorio, "The Apostles." To understand and evaluate the significance of any person's rise to fame in his own field, it is necessary to reconstruct the surroundings from which he came. If a study of the musical conditions had been made when Elgar's development as a composer was starting to draw attention, it would have been noted that the British public was prepared to listen to music in newer forms only if it was from a country other than England. There was very little done or said to encourage any music in a modern character if it was composed by someone from England.