Volume 41 Number 4 Article 2 June 2013 Remembrance and Research: Some Reflections on a endingP Centenary Keith C. Sewell Dordt College Follow this and additional works at: https://digitalcollections.dordt.edu/pro_rege Part of the European History Commons Recommended Citation Sewell, Keith C. (2013) "Remembrance and Research: Some Reflections on a Pending Centenary," Pro Rege: Vol. 41: No. 4, 7 - 15. Available at: https://digitalcollections.dordt.edu/pro_rege/vol41/iss4/2 This Feature Article is brought to you for free and open access by the University Publications at Digital Collections @ Dordt. It has been accepted for inclusion in Pro Rege by an authorized administrator of Digital Collections @ Dordt. For more information, please contact
[email protected]. Remembrance and Research: Some Reflections on a Pending Centenary perhaps even the coldness of the grave. Over the years the selection of musical compo- sitions played on this occasion has become fixed by tradition. Prior to the National Anthem comes a majestic paraphrase of Psalm 90, “O God our Help in Ages Past,” by Isaac Watts (1674-1748), sung to the tune “St. Anne,” by William Croft (1678-1727). A short while before this, the movement “Nimrod,” by Edward Elgar (1857-1934), from the work gener- ally known as “The Enigma Variations,” is played.1 In the complete work, the eighth variation is light, pleasant, and happy, remarkably congruent with the (not exactly accurate) popular image of the sup- by Keith C. Sewell posedly halcyon days of the pre-1914 Edwardian era. This variation elides on a single note, held by The scene is the Cenotaph, in Whitehall, the first violin, into the ninth, and most famous London, on the eleventh of November.