The first time I heard this concerto [Elgar’s cello concerto], I had been struck by its suitability for the viola. How often I murmured to myself over the years – if only I could have a work from this great man’s pen. Anyhow, here was the next best thing. In 1929 I undertook the transcription and then wrote to Sir Edward in fear and trepidation to tell him what I had done.