Elgar at Play
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The Hills of Dreamland
SIR EDWARD ELGAR (1857-1934) The Hills of Dreamland SOMMCD 271-2 The Hills of Dreamland Orchestral Songs The Society Complete incidental music to Grania and Diarmid Kathryn Rudge mezzo-soprano† • Henk Neven baritone* ELGAR BBC Concert Orchestra, Barry Wordsworth conductor ORCHESTRAL SONGS CD 1 Orchestral Songs 8 Pleading, Op.48 (1908)† 4:02 Song Cycle, Op.59 (1909) Complete incidental music to 9 Follow the Colours: Marching Song for Soldiers 6:38 1 Oh, soft was the song (No.3) 2:00 *♮ * (1908; rev. for orch. 1914) GRANIA AND DIARMID 2 Was it some golden star? (No.5) 2:44 * bl 3 Twilight (No.6)* 2:50 The King’s Way (1909)† 4:28 4 The Wind at Dawn (1888; orch.1912)† 3:43 Incidental Music to Grania and Diarmid (1901) 5 The Pipes of Pan (1900; orch.1901)* 3:46 bm Incidental Music 3:38 Two Songs, Op. 60 (1909/10; orch. 1912) bn Funeral March 7:13 6 The Torch (No.1)† 3:16 bo Song: There are seven that pull the thread† 3:33 7 The River (No.2)† 5:24 Total duration: 53:30 CD 2 Elgar Society Bonus CD Nathalie de Montmollin soprano, Barry Collett piano Kathryn Rudge • Henk Neven 1 Like to the Damask Rose 3:47 5 Muleteer’s Serenade♮ 2:18 9 The River 4:22 2 The Shepherd’s Song 3:08 6 As I laye a-thynkynge 6:57 bl In the Dawn 3:11 3 Dry those fair, those crystal eyes 2:04 7 Queen Mary’s Song 3:31 bm Speak, music 2:52 BBC Concert Orchestra 4 8 The Mill Wheel: Winter♮ 2:27 The Torch 2:18 Total duration: 37:00 Barry Wordsworth ♮First recordings CD 1: Recorded at Watford Colosseum on March 21-23, 2017 Producer: Neil Varley Engineer: Marvin Ware TURNER CD 2: Recorded at Turner Sims, Southampton on November 27, 2016 plus Elgar Society Bonus CD 11 SONGS WITH PIANO SIMS Southampton Producer: Siva Oke Engineer: Paul Arden-Taylor Booklet Editor: Michael Quinn Front cover: A View of Langdale Pikes, F. -
Solving Elgar's Enigma
Solving Elgar's Enigma Charles Richard Santa and Matthew Santa On June 19, 1899, Elgar's opus 36, Variations on a Theme, was introduced to the public for the first time. It was accompanied by an unusual program note: It is true that I have sketched for their amusement and mine, the idiosyn crasies of fourteen of my friends, not necessarily musicians; but this is a personal matter, and need not have been mentioned publicly. The Varia tions should stand simply as a "piece" of music. The Enigma I will not explain-its "dark saying" must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set [of variations 1 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 chief character is never on the stage. (Burley and Carruthers 1972:119) After this premier Elgar give hints about the piece's "Enigma;' but he never gave the solution outright and took the secret to his grave. Since that time scholars, music lovers, and cryptologists have been trying to solve the Enigma. Because the solution has not been discovered in spite of over 108 years of searching, many people have assumed that it would never be found. In fact, some have speculated that there is no solution, and that the promise of an Enigma was Elgar's rather shrewd way of garnering publicity for the piece. -
AUGUST JAEGER: PORTRAIT of NIMROD Frontispiece Visiting the Sick
AUGUST JAEGER: PORTRAIT OF NIMROD Frontispiece Visiting the sick. Lady Olga Wood and Professor Sanford take their leave of Jaeger and the children outside 37 Curzon Road, Muswell Hill, c. 1905. August Jaeger: Portrait of Nimrod A Life in Letters and Other Writings KEVIN ALLEN First published 2000 by Ashgate Publishing Reissued 2018 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Kevin Allen, 2000 The author has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Publisher s Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent. Disclaimer The publisher has made every effort to trace copyright holders and welcomes correspondence from those they have been unable to contact. A Library of Congress record exists under LC control number: 00023684 Typeset in Garamond by The Midlands Book Typesetting Company, Loughborough, Leics. ISBN 13: 978-1-138-73208-7 (hbk) ISBN 13: 978-1-315-18862-1 (ebk) Contents list of Plates vii Foreword by Percy M. -
Edward Elgar: Enigma Variations What Secret? Perusal Script Not for Performance Use Copyright © 2010 Chicago Symphony Orchestra
Edward Elgar: Enigma Variations What Secret? Perusal script Not for performance use Copyright © 2010 Chicago Symphony Orchestra. Duplication and distribution prohibited. In addition to the orchestra and conductor: Five performers Edward Elgar, an Englishman from Worcestershire, 41 years old Actor 2 (female) playing: Caroline Alice Elgar, the composer's wife Carice Elgar, the composer's daughter Dora Penny, a young woman in her early twenties Snobbish older woman Actor 3 (male) playing: William Langland, the mediaeval poet Arthur Troyte Griffith (Ninepin), an architect in Malvern Richard Baxter Townsend, a retired adventurer William Meath Baker, a wealthy landowner George Robertson Sinclair, a cathedral organist August Jaeger (Nimrod), a German music-editor William Baker, son of William Meath Baker Old-fashioned musical journalist Pianist Narrator Page 1 of 21 ME 1 Orchestra, theme, from opening to figure 1 48" VO 1 Embedded Audio 1: distant birdsong NARRATOR The Malvern Hills... A nine-mile ridge of rock in the far west of England standing about a thousand feet above the surrounding countryside... From up here on a clear day you can see far into the distance... on one side... across the patchwork fields of Herefordshire to Wales and the Black Mountains... on another... over the river Severn... Shakespeare's beloved river Avon... and the Vale of Evesham... to the Cotswolds... Page 2 of 21 and... if you're lucky... to the north, you can just make out the ancient city of Worcesteri... and the tall square tower of its cathedral... in the shadow of which... Edward Elgar spent his childhood and his youth.. -
Vol. 18, No. 1 April 2013
Journal April 2013 Vol.18, No. 1 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2013 Vol. 18, No. 1 Editorial 3 President Julian Lloyd Webber FRCM Julia Worthington - The Elgars’ American friend 4 Richard Smith Vice-Presidents Redeeming the Second Symphony 16 Sir David Willcocks, CBE, MC Tom Kelly Diana McVeagh Michael Kennedy, CBE Variations on a Canonical Theme – Elgar and the Enigmatic Tradition 21 Michael Pope Martin Gough Sir Colin Davis, CH, CBE Dame Janet Baker, CH, DBE Music reviews 35 Leonard Slatkin Martin Bird Sir Andrew Davis, CBE Donald Hunt, OBE Book reviews 36 Christopher Robinson, CVO, CBE Frank Beck, Lewis Foreman, Arthur Reynolds, Richard Wiley Andrew Neill Sir Mark Elder, CBE D reviews 44 Martin Bird, Barry Collett, Richard Spenceley Chairman Letters 53 Steven Halls Geoffrey Hodgkins, Jerrold Northrop Moore, Arthur Reynolds, Philip Scowcroft, Ronald Taylor, Richard Turbet Vice-Chairman Stuart Freed 100 Years Ago 57 Treasurer Clive Weeks The Editor does not necessarily agree with the views expressed by contributors, Secretary nor does the Elgar Society accept responsibility for such views. Helen Petchey Front Cover: Julia Worthington (courtesy Elgar Birthplace Museum) Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. -
The Dream of Gerontius. a Musical Analysis
The Dream of Gerontius. A Musical Analysis A Musical Tour of the Work conducted by Frank Beck One of Elgar's favourite walks while writing Gerontius was from his cottage, Birchwood Lodge, down this lane to the village of Knightwick. 'The trees are singing my music,' Elgar wrote. "Or have I sung theirs?" (Photograph by Ann Vernau) "The poem has been soaking in my mind for at least eight years," Elgar told a newspaper reporter during the summer of 1900, just weeks before the première ofThe Dream of Gerontius in Birmingham. Those eight years were crucial to Elgar's development as a composer. From 1892 to 1900 he wrote six large-scale works for voices, beginning with The Black Knight in 1892 and including King Olaf in 1896, Caractacus in 1898 and Sea Pictures in 1899. He also conducted the premières of each one, gaining valuable experience in the practical side of vocal music. Most importantly, perhaps, he gained confidence, particularly after the great success of the Enigma Variations in 1899 made him a national figure. At forty-two, Elgar had waited long for recognition, and he now felt able to take on a subject that offered an imaginative scope far beyond anything he had done before: Cardinal Newman's famous poem of spiritual discovery. Elgar set slightly less than half of the poem, cutting whole sections and shortening others to focus on its central narrative: the story of a man's death and his soul's journey into the next world. Part 1 Gerontius is written for tenor, mezzo-soprano, bass, chorus and orchestra. -
Earth and Air String Orchestra: “Losing Innocence” (April 8) by Robert Rollin
Earth and Air String Orchestra: “Losing Innocence” (April 8) by Robert Rollin Last Friday night, April 8, the Earth and Air String Orchestra presented Losing Innocence: English Music at the Turn of the 20th Century in Tucker Hall of St. Paul’s Episcopal Church in Cleveland Heights. It was the perfect setting for the interesting, wellorganized, and beautiful program, and the 18member string ensemble performed with exceptional skill. As music director David B. Ellis explained, the turn of the 20th century marked the end of the Victorian period, an era characterized by a return to Romanticism and an interest in Gothic Revival Architecture. Staid and decorous, the era emphasized privacy at the expense of public exposure. The composers presented fit well into that restrained British mood, which did not truly absorb the experimental ideas and poetry of the French Symbolists, Mallarme, Baudelaire and others. The highlights, both featuring solo string quartets, were Edward Elgar’s Introduction and Allegro, Op. 47 (1905) and Ralph Vaughan William’s Fantasia on a Theme by Thomas Tallis (1910). The quartet (Solomon Liang and Koko Watanabe, violins, Aaron Mossburg, viola, and Ryan Louie, cello) truly sparkled in their expressive and vigorous playing. The Introduction and Allegro opened the concert. Elgar composed it for an entire concert of his music by the then newlyformed London Symphony. Although the composer intended it to be a nod to the Baroque concerto grosso form, the musical intensity of this performance lent the piece a romantic air. In addition to the solo quartet, solos bounced around the orchestra, and the section players handled them equally well. -
Catechizing Elgar's Catholic Avatars
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Measure of a Man: Catechizing Elgar’s Catholic Avatars CHARLES EDWARD MCGUIRE In Memoriam (I): The Pan-Christian Avatar, or “What Is the Meaning of Prayers for the Dead?” In the back of the nave of Worcester Cathedral is the Elgar Window, a memorial to the composer Edward Elgar. This window is an adornment the cathedral holds with pride: besides the requisite postcards, pamphlets, and Pitkin guides for sale in the gift shop, signs pointing the way to the window are attached to the walls of the cathedral itself, greeting visitors as they enter from the north door. The window, designed by Archibald Nicholson, was the result of an appeal by Ivor Atkins (friend of Elgar’s and longtime organist of Worcester Cathedral) and the dean of the cathedral, William Moore-Ede. Its construction proceeded rapidly in the ancient building, and the dedication occurred on September 3, 1935 at the Worcester meeting of the Three Choirs Festival, a little over a year after Elgar’s death. As was fitting for a fallen cultural hero, Viscount Cobham, then Lord Lieutenant of Worcester, unveiled the memorial.1 The Elgar window is an idealized representation of several scenes from The Dream of Gerontius. It is constructed of three panels, capped by six smaller arched windows (figure 1). In the center, Gerontius appears in two manifestations. In the lowest panel, he is the sick, dying old man from Part I of the oratorio. -
Vol. 13, No.2 July 2003
Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • T Snow • Fly, Singing Birdournal • From the Bavarian Highlands • The of Life • King Olaf • Imperial March • The Banner of St George Deum and Benedictus • Caractacus • Variations on an Origina Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson Matin • Three Characteristic Pieces • The Dream of Gerontius Serenade Lyrique • Pomp and Circumstance • Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May S Dream Children • Coronation Ode • Weary Wind of the West • • Offertoire • The Apostles • In The South (Alassio) • Introduct and Allegro • Evening Scene • In Smyrna • The Kingdom • Wan Youth • How Calmly the Evening • Pleading • Go, Song of Mine Elegy • Violin Concerto in B minor • Romance • Symphony No Hearken Thou • Coronation March • Crown of India • Great is t Lord • Cantique • The Music Makers • Falstaff • Carissima • So The Birthright • The Windlass • Death on the Hills • Give Unto Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlig Express • Le Drapeau Belge • The Spirit of England • The Fring the Fleet • The Sanguine Fan • ViolinJULY Sonata 2003 Vol.13, in E minor No.2 • Strin Quartet in E minor • Piano Quintet in A minor • Cello Concerto -
The Violin Music
572643-45 bk Elgar 25/2/11 07:51 Page 16 Photo from the collection of Marat Bisengaliev ELGAR 3 CDs The Violin Music Violin Concerto • Violin Sonata • Miniatures Marat Bisengaliev, Violin • Benjamin Frith, Piano West Kazakhstan Philharmonic Orchestra Bundit Ungrangsee 8.572643-45 16 572643-45 bk Elgar 25/2/11 07:51 Page 2 Edward Bundit Ungrangsee ELGAR Bundit Ungrangsee enjoys a career as a conductor that has (1857-1934) taken him to five continents. A hero to many young people in his native Thailand, Bundit was awarded the title of CD 1* 57:37 ( Etude C 1:22 ) Cultural Ambassador and National Artist by the Thai Etude D 3:05 government in recognition of his international Violin Concerto in B minor, Op. 61 46:07 ¡ Etude E 2:55 1 Allegro 17:05 achievements. He has appeared with leading orchestras, 2 Andante 10:47 CD 3 70:11 including the Utah Symphony, Orchestra of St Luke’s, 3 Allegro molto 18:26 Milwaukee and Charleston Symphonies and the prestigious 1 Elévation, Op. 11 (tr. F. Louis Schneider)† 4:36 La Fenice Theatre in Venice. Among others he has Serenade for Strings, Op. 20 11:30 2 † conducted the Mormon Tabernacle Choir, I Pomeriggi 4 Allegro piacevole 3:18 Pastourelle, Op. 4, No. 2 2:54 3 Musicali, Orchestra Sinfonica Siciliana, the Auckland and 5 Larghetto 5:17 Bavarian Dance No. 3 † Victoria Symphonies, Orchestra Internazionale d’Italia, and 6 Allegretto 2:55 (arr. William Henley) 4:45 4 Bavarian Dance No. 1 the Malaysian, Nagoya, Copenhagen and Seoul CD 2 66:43 (arr. -
Brahms Symphony No.2 & Symphony No.4
SignumClassics PHILHARMONIA ORCHESTRA 2 CDs SignumClassics THE PHILHARMONIA ORCHESTRA SIGCD133 S I G C D 1 3 2 CHRISTOPH VON DOHNÁNYI SIR CHARLES MACKERRAS BRAHMS SYMPHONY No.2 & SYMPHONY No.4 S I G C D 1 3 5 VLADIMIR ASHKENAZY SIR CHARLES MACKERRAS SCHUBERT SHOSTAKOVICH FESTIVE OVERTURE SYMPHONY No.9 SYMPHONY No.5 SCHUBERT SYMPHONY No.9 www.signumrecords.com www.philharmonia.co.uk Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 SignumClassics PHILHARMONIA ORCHESTRA SIGCD168 S I G C D 1 3 2 SCHUBERT CHRISTOPH VON DOHNÁNYI BRAHMS SIR ANDREW DAVIS BRAHMS SYMPHONY No.2 & SYMPHONY No.4 S I G C D 1 3 3 BRAHMS SIR CHARLES MACKERRAS SCHUBERT SCHUBERT SYMPHONY No.9 SIR ANDREW DAVIS S I G C D 1 4 8 BRAHMS ELGAR CHRISTOPH VON DOHNÁNYI SCHUBERT STRAUSS ELGAR ENIGMA VARIATIONS STRAUSS TILL EULENSPIEGELS LUSTIGE STREICHE EIN HELDENLEBEN ENIGMA VARIATIONS IN THE SOUTH (ALASSIO) IN THE SOUTH (ALASSIO) www.signumrecords.com www.philharmonia.co.uk SERENADE FOR STRINGS Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 SERENADE FOR STRINGS SIR ANDREW DAVIS SignumClassics PHILHARMONIA ORCHESTRA 2 CDs SIGCD132 S I G C D 1 3 3 BRAHMS SIR CHARLES MACKERRAS CHRISTOPH VON DOHNÁNYI SIR CHARLES MACKERRAS SCHUBERT SHOSTAKOVICH SCHUBERT SYMPHONY No.9 S I G C D 1 3 5 VLADIMIR ASHKENAZY CHRISTOPH VON DOHNÁNYI SHOSTAKOVICH FESTIVE OVERTURE SYMPHONY No.5 BRAHMS ELGAR BRAHMS SYMPHONY No.2 & SYMPHONY No.4 SYMPHONY No.2 & SYMPHONY No.4 www.signumrecords.com -
The Cambridge Companion to Elgar Edited by Daniel M
Cambridge University Press 0521826233 - The Cambridge Companion to Elgar Edited by Daniel M. Grimley and Julian Rushton Index More information Index Acworth, H. A., 26, 64, 70, 72, 75, 76, 77, 78 Binge, Ronald, 77 Alexandra, Queen, 28, 30, 60 Binyon, Laurence, 83, 138, 173, 203, 219–20 Allen, Sir Hugh, 23 Winnowing Fan, The, 219 Allgemeine Musik-Zeitung, 204, 205–6, 211 Birmingham, 6, 8, 17, 18, 20, 52, 82, 87, 90, 95, Anderson, Robert, 1, 86, 101, 223 113, 140, 147, 204 Argyll, 9th Duke of, see Campbell, John Birmingham and Midland Institute, 22 Douglas Sutherland Birmingham Festival, 18, 20, 94, 100, Armes, Philip, 17 101 Arnold, Matthew, 61 Birmingham Oratory, 91 Ashton, Sir Frederick, 56, 57 Birmingham Popular Concerts, 17 Asquith, Herbert Henry, 176 Peyton Chair, University, see Elgar, Sir AssociatedBoardoftheRoyalSchoolsof Edward William Music, 12 Birmingham Daily Post, 220 Atkins, Sir Ivor, 17, 95, 104, 113, 118, Bizet, Georges, 4 186 Carmen, 140 Augustine, St Jeux d’enfants,65 Civitas Dei, 104 Blackwood, Algernon, 134, 178, 182 A Prisoner in Fairyland, 134, 178 Bach, Carl Philip Emmanuel, 4 Blair, Hugh, 17, 113, 115 Bach, Johann Sebastian, 27, 118, 193–4 Blake, Carice Elgar, 7, 25, 32, 57, 58, 82, Bach Gesellschaft, 28 188 Brandenburg Concerto No. 3, 27, 123 Bliss, Sir Arthur, 22 St Matthew Passion, 100 Boosey & Co., publisher, 28, 30, 68, Baker, Sir Herbert, 172 217 Bantock, Sir Granville, 21–2, 23 Boosey and Hawkes, publisher, 30, 43 Dante and Beatrice,22 Boughton, Edgar, 22 Russian Scenes,22 Boult, Sir Adrian, 101, 102, 191, 197, 201, Barbirolli, Sir John, 1, 129, 191, 192 202 Barrie, Sir James M., 60 Bournemouth Municipal Orchestra, 22 Peter Pan, 58, 178 Brahms, Johannes, 4, 89, 120, 141, 148, 205; Bartok,´ Bela,´ 192 developing variation, 129; influence String Quartet No.