Frederick Delius's Cello Concerto was composed in 1920–1921. The world premiere was given in January 1923 in Vienna by Alexandre Barjansky. The work was written at the request of the English cellist Beatrice Harrison, who was the soloist at the British premiere in July 1923. This was the composer's favourite of his concertos. It was first commercially recorded in 1965 and has received further recordings subsequently.

The banjo is a stringed instrument with a thin membrane stretched over a frame or cavity to form a resonator. The membrane is typically circular, and in modern forms is usually made of BOPET, where early membranes were made of goat skin. Early forms of the instrument were fashioned by African Americans and had African antecedents, and the instrument was strongly associated with black people. In the 19th century, interest in the instrument was spread across the United States and United Kingdom by traveling shows of the highly popular traveling blackface minstrel shows, followed by mass production and mail-order sales, including instructional books. The inexpensive or home-made banjo remained part of rural folk culture, but five-string and four-string banjos also became popular for home parlor music entertainment, college music clubs, and early 20th century jazz bands. By the early 20th century, the banjo was most frequently associated with folk, cowboy music, and country music. By mid-century it had come to be strongly associated with bluegrass. Eventually it began to be employed occasionally and sporadically in various kinds or other kinds of popular music. Some famous American bluegrass players of the banjo are Ralph Stanley and Earl Scruggs. Historically, the banjo occupied a central place in Black American traditional music and rural folk culture before entering the mainstream via the minstrel shows of the 19th century. Along with the fiddle, the banjo is a mainstay of American styles of music, such as bluegrass and old-time music. It is also very frequently used in Dixieland jazz, as well as in Caribbean genres like biguine, calypso, mento and twoubadou.

A cello concerto (sometimes called a violoncello concerto) is a concerto for solo cello with orchestra or, very occasionally, smaller groups of instruments. These pieces have been written since the Baroque era if not earlier. However, unlike instruments such as the violin, the cello had to face harsh competition from the older, well-established viola da gamba. As a result, few important cello concertos were written before the 19th century – with the notable exceptions of those by Vivaldi, C.P.E. Bach, Haydn and Boccherini. Its full recognition as a solo instrument came during the Romantic era with the concertos of Schumann, Saint-Saëns, Lalo and Dvořák. From then on, cello concertos have become more and more frequent. Twentieth-century composers have made the cello a standard concerto instrument, along with the already-rooted piano and violin concertos; among the most notable concertos of the first half of the century are those of Elgar, Prokofiev, Barber and Hindemith. Many post-World War II composers (Shostakovich, Walton, Ligeti, Britten, Dutilleux, Lutoslawski and Penderecki among others) have written at least one. One special consideration composers must take with the cello (as well as all instruments with a low range) is with the issue of projection. Unlike instruments like the violin, whose high range projects fairly easily above the orchestra, the cello's lower notes can be easily lost when the cello is not playing a solo or near solo. Because of this, composers have had to deliberately pare down the orchestral component of cello concertos while the cello is playing in the lower registers.

The musical compositions of Frederick Delius (1862–1934) cover numerous genres, in a style that developed from the early influences of composers such as Edvard Grieg and Richard Wagner into a voice that was uniquely Delius's. He began serious composition at a relatively advanced age (his earliest songs date to his early twenties), and his music was largely unknown and unperformed until the early 20th century. It was a further ten years before his work was generally accepted in concert halls, and then more often in Europe than in his home country, England. Ill-health caused him to give up composition in the early 1920s and he was silent for several years, before the services of a devoted amanuensis, Eric Fenby, enabled Delius to resume composing in 1928. The Delius-Fenby combination led to several notable late works.

On Hearing the First Cuckoo in Spring is a tone poem composed in 1912 by Frederick Delius. Together with Summer Night on the River it is one of Delius's Two Pieces for Small Orchestra. The two were first performed in Leipzig on 23 October 1913, conducted by Arthur Nikisch. On Hearing the First Cuckoo in Spring is the longer of the two pieces, with a typical playing time of between six and seven minutes. There have been numerous recordings of the piece, which Delius's champion Sir Thomas Beecham described as much the best known of the composer's works.

The musical compositions of Frederick Delius (1862–1934) cover numerous genres, in a style that developed from the early influences of composers such as Edvard Grieg and Richard Wagner into a voice that was uniquely Delius's. He began serious composition at a relatively advanced age (his earliest songs date to his early twenties), and his music was largely unknown and unperformed until the early 20th century. It was a further ten years before his work was generally accepted in concert halls, and then more often in Europe than in his home country, England. Ill-health caused him to give up composition in the early 1920s and he was silent for several years, before the services of a devoted amanuensis, Eric Fenby, enabled Delius to resume composing in 1928. The Delius-Fenby combination led to several notable late works.