“I think that through music my personality has developed in a positive way, said Sol Gabetta. I stopped caring about what others think, whether they like me or not. I feel good about myself, I take responsibility for what I do, and I share all this with others. And this gives me a feeling of freedom.” Loyal to the Auditorium, the Franco-Argentine cellist is a glowing, generous and sensitive character, and his touch, imbued with these qualities, admirably suits Elgar’s concerto, with its inextinguishable melodies and sensuous orchestra. This jewel of a masterpiece is magnificently set between the overture to Béatrice et Bénédict (Berlioz’ Shakespearean opera, inspired by Much Ado About Nothing) and the last of Schumann’s four symphonies. After the First Symphony Schumann vowed to his wife: “My next symphony will be named Clara, and I shall paint your portrait on it with flutes, oboes and harps.” Clara received the score for her 22nd birthday, on 13 September 1841. Its first performance was a flop and Schumann, mortified, put it aside for ten years. He revised it to its definitive form and it became a huge success. It is this 1851 version which we shall hear at these concerts.