WeRead Powered by ReaderPub
Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day cover

Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day

Chapter 43: ELGAR
By Lawrence Gilman
Open in WeRead

Explore more books like this:

Essays, Letters & SpeechesMusic

About This Book

The guide offers concise, non-technical explanations of symphonies, overtures, and tone-poems, arranged by composer, that orient concert-goers to the illustrative or poetic intentions behind each work. A preface argues for knowing a composition's programme when it is central to the music; individual entries summarize a work's descriptive basis, thematic outline, and salient orchestral effects without indulging in speculative interpretations. Coverage ranges from Beethoven through late-nineteenth and early-twentieth century composers and selects items likely to appear on contemporary orchestral programs, providing practical background to enhance informed listening.

ELGAR

(Edward William Elgar: born in Broadheath, near Worcester, England, June 2, 1857; now living in Malvern, England.)

VARIATIONS ON AN ORIGINAL THEME ("ENIGMA"): Op. 36

These Variations have an inner history, or, rather, fourteen inner histories; but precisely what they are is a secret which is locked within the breast of Sir Edward Elgar and certain of his friends. The Variations are fourteen in number, and their purpose has been publicly avowed by the composer. In them, he says: "I have sketched ... the idiosyncrasies of fourteen of my friends; ... but this is a personal matter, and need not have been mentioned." The score bears the sub-title "Enigma," and is dedicated "to my friends pictured within." Hints as to their identity are contained in these initials and sobriquets printed at the head of the different variations:

  1. "C. A. E." L'istesso tempo, G minor, ending in major, 4-4.
  2. "H. D. S.-P." Allegro, G minor, 3-8.
  3. "R. B. T." Allegretto, G major, 3-8.
  4. "W. M. B." Allegro di molto, G minor, with end in G major, 3-4.
  5. "R. P. A." Moderato, C minor, 12-8 and 4-4.
  6. "Ysobel." Andantino, C major, 3-2.
  7. "Troyte." Presto, C major, 3-2.
  8. "W. N." Allegretto, G major, 6-8.
  9. "Nimrod." Moderato, E-flat major, 3-4.
  10. "Dorabella." Intermezzo, Allegretto, G major, 3-4.
  11. "G. R. S." Allegro di molto, G minor, 2-2.
  12. "B. G. N." Andante, G minor, 4-4.
  13. "* * *." Romanza, Moderato, G major, 3-4.
  14. "E. D. U." Finale, Allegro, G major, 2-2.

As to the "Enigma," Sir Edward has thus declared himself: "The Enigma I will not explain—its 'dark saying' must be left unguessed, and I warn you that the apparent connection between the Variations and the theme is often of the slightest texture; further, through and over the whole set another and larger theme 'goes,' but is not played; ... so the principal theme never appears, even as, in some late dramas—e. g., Maeterlinck's L'Intruse and Les Sept Princesses—the principal character is never on the stage."

The score bears the date-line: "Malvern, 1899."