Introduction and Allegro (Elgar)
Edward Elgar’s Introduction and Allegro for Strings, Op. 47, written in 1905, is a string concertante piece for a quartet plus string orchestra. He set it up to show off the players’ virtuosity and drew on the 18th‑century concerto grosso as a model. The work quickly became a British favorite and remains popular in concert and on records there; outside Britain it is programmed less often, though it has been recorded by several major orchestras and conductors.
The piece was written after a request from Elgar’s publisher and friend, August Jaeger, to create a work that would showcase the new London Symphony Orchestra. Jaeger recalled a fine Bach performance that inspired the project. Elgar replied that he planned a string piece for the Symphonic Orchestra concert, and he hinted at a lively fugue in a challenging form. He later described the work’s spirit and direction.
The premiere took place in London at Queen’s Hall on March 8, 1905, with Elgar conducting. It was an immediate success. British critics praised its quality, skillful scoring, and imaginative mixing of solo quartet with the orchestra. It was seen as a work that could achieve lasting popularity.
The American premiere followed on November 26, 1905, conducted by Walter Damrosch. Critics noted its modern take on the old concerto grosso idea and commented on its rich and varied colors, even if the thematic invention wasn’t the main point. The piece was dedicated to Samuel Sanford of Yale University and soon entered the British concert repertoire, including regular appearances in the Proms.
Over the years, the work has sometimes met with mixed receptions outside Britain. It did travel to Italy with Toscanini, and the BBC broadcast it for the first time in 1928. The London Symphony Orchestra did not record the piece until a century after its first performance.
Musically, the Introduction opens with a grand tutti fanfare, moving into a major-key, moderately paced section with a short, intimate moment for solo viola and a back‑and‑forth between soloist and orchestra. A romantic middle section leads back to the opening ideas and into the Allegro. The Allegro starts with a bright G major theme built on a simple rhythm and grows to a strong, driving pace. Instead of a normal development, a new vigorous fugue appears, and the music returns to G minor briefly before returning to G major. The various themes are then restated, with dialogue between the orchestra and the lone quartet, and a final Welsh-inspired idea returns one last time before the piece ends in a triumphant, coordinated cocoon of sound, culminating in a bold, energetic finish.
Opinions on how hard the piece is vary. Some leading conductors and players say it is extremely demanding and pushes performers to their limits. Others, including some LSO players, believe a skilled group can handle it, especially with good leadership. Elgar himself did not record the piece, but he was impressed by Barbirolli’s 1929 recording. The work’s reputation remains strongest in Britain, where it is a staple of string repertoire, while it continues to be recorded and occasionally performed elsewhere.
This page was last edited on 2 February 2026, at 14:08 (CET).