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Vol. 16, No. 5 July 2010

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Vol. 16, No. 5 July 2010 Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May Song • Dream Children • Coronation Ode • Weary Wind of the West • Skizze • Offertoire • The Apostles • In The South (Alas- sio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • HowElgar Calmly Society the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No.2 •ournal O Hearken Thou • Coronation March • Crown of India • Great is the Lord • Cantique • The Music Makers • Falstaff • Carissima • Sospiri • The Birthright • The Windlass • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • The Spirit of England • The Fringes of the Fleet • The Sanguine Fan • Violin So- nata in E minor • String Quartet in E minor • Piano Quintet in A mi- nor • Cello Concerto in E minor • King Arthur • The Wanderer • Em- pire March • The Herald • Beau Brummel • Severn Suite • Soliloquy • Nursery Suite • Adieu • Organ Sonata • Mina • The Spanish Lady • Chantant • Reminiscences • Harmony Music • Promenades • Eve- sham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Amour • Bizarre- rie • O Happy Eyes • My Love Dwelt in a Northern Land • Froissart • Spanish Ser- enade • La Capric- ieuse • Serenade • The Black KnightJuly •2010 Sursum Vol. 16, No. Corda 5 • The Snow • Fly, Singing Bird • From the Bavarian Highlands • The Light of Life • King Olaf • Imperial March • The Banner of St George • Te Deum and Benedictus • Caractacus • Variations on an Original Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Matin • The The Elgar Society Journal Society 362 Leymoor Road, Golcar, Huddersfield, HD7 4QF Telephone: 01484 649108 Email: [email protected] July 2010 Vol. 16, No. 5 President Julian Lloyd Webber FRCM Elgar’s Will: further enigmas 3 Brian Harvey The King and the Troubadour: Edward VII and Edward Elgar 7 Vice-Presidents Arthur Reynolds Ian Parrott Sir David Willcocks, CBE, MC A young friend of Elgar: Alban Claughton (1876–1969) 35 Diana McVeagh Valerie Langfield Michael Kennedy, CBE Michael Pope Tales from the Complete Edition 3: Hope and Glory? It’s the Pitt’s 41 Sir Colin Davis, CH, CBE John Norris Sir Charles Mackerras, CH, AC, CBE Prolegomena to the Acuta Music King Arthur Suite 47 Dame Janet Baker, CH, DBE Robert Kay Leonard Slatkin Sir Andrew Davis, CBE Music review: King Arthur Suite 50 Donald Hunt, OBE Julian Rushton Christopher Robinson, CVO, CBE Andrew Neill Book review: Fittleworth 52 Martin Bird DVD Review 53 Chairman Martin Bird Steven Halls CD reviews 54 Vice-Chairman Letters 75 Stuart Freed 100 Years Ago 77 Treasurer Peter Hesham The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Secretary Helen Petchey Front Cover: Portrait photograph of King Edward VII. 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 1 the editor is content to do this. Elgar’s Will: further enigmas Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if required, are obtained. Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions. Brian Harvey Presentation of written text: In the March 2010 Journal (p. 5), John Drysdale remarks that it is curious that the Subheadings: longer articles benefit from judicious use of these. four wills he discusses, including, briefly, Elgar’s own, have attracted ‘no detailed Dates: use the form 2 June 1857. Decades: 1930s, no apostrophe. analysis’, despite their obvious importance in indicating the composer’s cash-flow, royalties, expenditure patterns (including his lively interest in the turf) and capital Plurals: no apostrophe (CDs not CD’s). position. Indeed there are many things which it would be revealing to peruse if only they were available, the most obvious being his inland revenue returns and his Foreign words: if well established in English (sic, crescendo) in Roman, otherwise medical records. In their absence, as Dr Drysdale observes, certain assumptions italics. seem to have been made, and these may be unreliable. This documentation, if it still Numbers: spell out up to and including twenty, then 21 (etc.) in figures. physically exists, is held under strict confidentiality obligations, and so probably will never be seen – rightly, many would think. Quotations: in ‘single quotes’ as standard. Double quotes for quotes within quotes. As it happens, in the course of researching Elgar’s financial position at Longer quotations in a separate paragraph, not in italic, not in quotes; please Brinkwells as background for the book about Elgar in Sussex in the latter days of leave a blank line before and after. the First World War, I wrote primarily for my own benefit the following on Elgar’s will.2 Among other things, it seems to show the strangely contradictory nature of Emphasis: ensure emphasis is attributed as ‘[original emphasis]’ or ‘[my the man. emphasis]’. Emphasized text italic. Clause 3 of this misanthropic document, dated 2 January 1932, recites that References: Please position footnote markers after punctuation – wherever possible ‘owing to the sudden collapse of everything artistic and commercial’ Elgar the at the end of a sentence. testator can no longer think of benefiting close friends or charities, and there is a straightforward gift to his daughter Carice of ‘all my books, papers and manuscripts’ In footnotes , please adhere as far as possible to these forms (more fully expounded and all personal chattels absolutely. Otherwise there is a complete absence of gifts in the longer version of these notes): to friends whom one might ordinarily suppose Elgar would feel deserved something Books: Author, Title (Place of publication: Publisher, year of publication), page[s]. Thus: to remember him by. This should be contrasted with Elgar’s generous extra- Robert Anderson, Elgar (London: Dent, 1993), 199. testamentary gifts to selected villagers of Fittleworth on the death of his wife and in Periodicals: Author, ‘Title of article’, Title of periodical, issue number and date sufficient her memory (listed on p. 53 below). The ‘sudden collapse’ referred to by Elgar is not to identify, page[s]. Thus: Michael Allis, ‘Elgar, Lytton, and the Piano Quintet, Op. 84’, identified, and what he had in mind is another minor enigma. Music & Letters, 85 (May 2004), 198. By clauses 7–9, after a few small annuities and legacies, there is a bequest of End a footnote with a full stop, please, and never put a comma before a all the net residue (freeholds or personal estate) to his duly appointed Executor/ parenthesis. Trustee Company to hold on trust, first for Carice for life and subject thereto to the specified six nephews and nieces (or their issue if they predeceased) for life. So the Titles that are ‘generic’ in Roman: e.g. Violin Concerto. Others in italics (e.g. Sea Trustee had to divide the capital into six shares and pay the income of each share Pictures; the Musical Times). Units within a longer work in single quotes, e.g. ‘Sanctus fortis’ from The Dream of Gerontius. 1 My thanks to John Drysdale and Anthony Payne for reading this article in draft. 2 Carol Fitzgerald and Brian W. Harvey, Elgar, Vicat Cole and the Ghosts of Brinkwells (Chichester: Phillimore & Co., 2007), reviewed by Michael Allis, this Journal, 15/3 (November 2007), 62–6. 2 The Elgar Society Journal 3 Vol.16 No.5 — July 2010 to the appropriate beneficiary for life, and after the death of such niece or nephew having predeceased her (in 1939) without children. I understand that from 1970 to pay over that share to his or her children on attaining 21. (One ‘black sheep’ anyone needing copyright permission until the end of 2004 dealt with the great nephew was apparently omitted.) The value of such shares was primarily in the nephews/nieces claiming under clauses 7–9, technically ‘the remaindermen’. They continuing stream of royalties, expiring in 2004 (1934 + 70) for works published gave Anthony Payne the necessary permissions to elaborate the sketches and drafts in Elgar’s lifetime. (Unpublished work enjoys a longer period, measured from the for the Third Symphony.4 The possibility of the completion of the Symphony by actual publication date.) It also has to be borne in mind that it was only in 1988 another composer was something that Elgar himself mentioned on his deathbed to that the relevant copyright period for published work was increased from 50 to 70 his doctor Arthur Thomson.5 There was a problem with the Symphony in that the years from the composer’s death. This EU-derived measure had the odd effect of BBC had commissioned it and paid in advance. In fact Lord Reith did a deal with causing Elgar’s published work (in common with that of Delius, Holst, Kipling, etc.) Carice (who was thought to have been short of money) by taking the manuscripts to bounce back into copyright. The law applied from 1996, so in practice his work and not asking for the money back. The manuscripts were subsequently donated to was in copyright again from then until the end of 2004. the British Museum.6 By clause 12 there is a declaration by Elgar as to his ‘literary and musical assets I have not been able to find any evidence that there was ever any express in which I include all my copyrights books and manuscripts’, giving his Trustees formal assignment in writing to the BBC of the copyright, as required by law for various discretions such as power to ‘publish or print any of my manuscripts or assignments, either by Elgar or Carice, even assuming she had the power to do works’, developing or selling all copyrights, and a declaration ‘as between all persons this in the light of the conflicting provisions of the will.
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