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Vol. 20 No 2 August 2017 Journal August 2017 Vol.20, No. 2 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: journal@elgar.org December 2017 Vol. 20, No. 2 Piers Plowman – Elgar’s Bible 3 President Peter Sutton Julian Lloyd Webber FRCM Edward Elgar and Gustav Mahler: 17 ‘who is virtually unknown in England’ (part two) Vice-Presidents Alexander Odefey Diana McVeagh Dame Janet Baker, CH, DBE From Keeper of the Archives to Keeper of the Flame: 38 Leonard Slatkin the ‘Dorabella’ Bequest at the Royal College of Music (part two) Kevin Allen Sir Andrew Davis, CBE Donald Hunt, OBE Christopher Robinson, CVO, CBE CD reviews 56 Andrew Neill Martin Bird, Ian Lace, Stuart Freed, William Cole Sir Mark Elder, CBE Martyn Brabbins Letters 63 Tasmin Little, OBE Tully Potter, Martin Bird Elgar viewed from afar 66 Chairman Meinhard Saremba Steven Halls Recording Notes 68 Vice-Chairman Michael Plant Stuart Freed Treasurer 100 Years Ago 69 Helen Whittaker Martin Bird Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Dora Mary Powell, née Penny (1874–1964) portrayed in 1913 (Adrian Partington Collection, image kindly supplied by Arthur Reynolds) and in 1952 at Sheffield (Royal College of Music). 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. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Piers Plowman – Elgar’s Bible required, are obtained. Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions. Peter Sutton Presentation of written text: Subheadings: longer articles benefit from judicious use of these. Some readers may have seen the play Elgar and Alice which I wrote for the anniversary celebrations in 2007. Five years later I began work on a modern verse translation of William Langland’s Dates: use the form 2 June 1857. Decades: 1930s, no apostrophe. fourteenth-century poem Piers Plowman, which Edward knew and valued highly. This article Plurals: no apostrophe (CDs not CD’s). describes the poem, giving an insight into some of what Edward was reading around the turn of the century, and explores the possible connections with his work. Foreign words: if well established in English (sic, crescendo) in Roman, otherwise italics. Numbers: spell out up to and including twenty, then 21 (etc.) in figures. Elgar’s direct references to ‘Piers Plowman’ Quotations: in ‘single quotes’ as standard. Double quotes for quotes within quotes. Jerrold Northrop Moore’s A Creative Life refers to the poem Piers Plowman three times. The first Longer quotations in a separate paragraph, not in italic, not in quotes; please leave a blank reference is to the early autumn of 1900, when ‘the Musical Times editor F.G. Edwards arrived line before and after. in Malvern to write a big article on Edward’s career, for publication at the time of the Gerontius premiere on 3 October. The journalist was immensely struck with the creative surroundings, and Emphasis: ensure emphasis is attributed as ‘[original emphasis]’ or ‘[my emphasis]’. at Edward’s suggestion headed his piece with a quotation from the Middle English poem Piers Emphasized text italic. Plowman.’1 References: Please position footnote markers after punctuation – wherever possible at the end of The quotation that Edward chose is the opening few lines of the poem: a sentence. In a somer seson whan soft was the sonne, In footnotes, please adhere as far as possible to these forms (more fully expounded in the longer I shope me in shroudes as I a shepe were, version of these notes): In habite as an heremite unholy of workes, Went wyde in this world wondres to here. Books: Author, Title (Place of publication: Publisher, year of publication), page[s]. Thus: Robert Ac on a May mornynge on Malverne hulles Anderson, Elgar (London: Dent, 1993), 199. Me byfel a ferly of fairy me thoughte. 2 Periodicals: Author, ‘Title of article’, Title of periodical, issue number and date sufficient to identify, (Prologue 1-6) page[s]. Thus: Michael Allis, ‘Elgar, Lytton, and the Piano Quintet, Op. 84’, Music & Letters, 85 (May 2004), 198. Secondly, ‘For Christmas [1900] Edward…sent Jaeger a copy of Sea Pictures, and wrote on the End a footnote with a full stop, please, and never put a comma before a parenthesis. last day of the old year and the old century: “I have given up sending cards, so sent the score of the miserable Mal de Mer – I forget what quotation I put on – from Piers Plowman’s Vision I expect – Titles that are ‘generic’ in Roman: e.g. Violin Concerto. Others in italics (e.g. Sea Pictures; the that’s my Bible, a marvellous book.”’3 Musical Times). Units within a longer work in single quotes, e.g. ‘Sanctus fortis’ from The Dream of Gerontius. 1 Jerrold Northrop Moore, Edward Elgar A Creative Life (Oxford: Oxford University Press, 1984), 323- At the end of the essay, add about a hundred words about the author, please. 324. 2 The spelling and wording differ between versions. Quotations from the original used here are from the Full version of the ‘Notes for Contributors’ please see http://elgar.org/elgarsoc/wp-content/ 1370s version as it appears in W.W. Skeat (ed.), The Vision of William concerning Piers the Plowman in uploads/2014/04/Notes-for-Contributors_longer-version_February-2017.pdf on http://elgar.org/ Three Parallel Texts together with Richard the Redeless by William Langland, Vol. I: Text, Vol. II: Notes elgarsoc/archive/ (Oxford: Oxford University Press, f.p. 1886, 10th ed., 1923, final reprint 2001). 3 JNM, A Creative Life, 341. 2 The Elgar Society Journal Vol.20 No.2 — August 2017 3 The third reference to the poem also relates to the period just after the premiere of Gerontius, Caractacus then cries out: when Edward had plans to write a symphony in honour of General Gordon who, curiously enough, also possessed an annotated copy of Newman’s poem, which he carried with him. But the O spirits of the hill, surround symphony was a step too far, and Edward shifted his attention to Cockaigne. This was, he said, With waving wings this holy ground. ‘cheerful and Londony: stout-and-steaky’,4 and superficially nothing to do with Piers Plowman. However, when he finished the score in March 1901, he inscribed on the final page the line from It is holy ground. At the beginning of Piers Plowman, the narrator looks up at the Herefordshire the poem ‘Metelees and monelees on Malverne hulles’ – a nice contrast with the stout and steak.5 Beacon and imagines that the fortress which stands there is the abode of God, while the ‘dale with a Edward would have appreciated this line not only because it matched what he saw as his dungeon’ that lies down below is the dwelling of the devil: the tower is naturally in the east because impoverished situation, but also because it was a piece of word-play, and his fascination with God is associated with enlightenment, and the devil lurks in the west where the light dies. Edward puns, pet names, cryptography and verbal jokes is well known. The word ‘metelees’ (‘meat-less’ would have appreciated this conceit, which is typical of the religious symbolism in the poem, and if or ‘food-less’) is very similar to the word ‘meteles’ in the next line of the poem, meaning ‘dream’: we walk up the Hills we too can follow Langland’s thinking: although the Norman fortress is long gone, the sun still shines on the summit and there are several houses at the shadowy foot of the Hills Metelees and monelees on Malverne hulles, which retain the vestige of a moat. We, as ever, are caught between the two. Musyng on this meteles; and my waye I yede. (Passus VII 141-142) The content of ‘Piers Plowman’ So what is this poem known as Piers Plowman, the ‘marvellous book’ that was Edward’s ‘Bible’? The Malvern Hills It is in essence a quest for how to live a good Christian life which combines practical activity with spiritual reflection, that being the medieval ideal. It is also a commentary on greed and The Malvern Hills themselves, located between the Severn (or Habren) and the distant mountains corruption which remains astonishingly topical today. Conscience complains, for instance, that: of the Silures, may be seen as forming another link between Edward and Langland. They are mentioned by name three times in Piers Plowman, not just in the opening lines and in the rueful …mischievous Miss Money persuades many mayors comment on poverty, but also in a reference to lawyers which Edward must have found equally To pocket the payments from pestering traders… amusing, given his early experience of working for a solicitor: Money now makes many miscreants lords, Who believe they’re above and have bought the law. You could sooner measure the mist on the Malverns (Passus III 85-86, 293-294) Than persuade them to speak unless paid in silver. (Prologue 127-128)6 The style, inherited from Old English, is alliterative. That is, three of the four stressed syllables in each line begin with the same consonant, or with a vowel, and there is a caesura or break at the In 1899 the Elgars moved to the house they named Craeg Lea, on the side of the Hills, but Edward mid-point of each line, ensuring a regular rhythm.
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