California State University, Northridge
Conducting the Elgar Enigma Variations
A thesis submitted in partial fulfillment of the requirements
For the degree of Master of Music in Music,
Conducting
by
Laura Asenas
December 2020 The graduate project of Laura Asenas is approved:
______
Dr. Steven Thachuk Date
______
Dr. Lawrence Stoffel Date
______
Dr. John Roscigno, Chair Date
California State University, Northridge
ii Dedication
I would like to dedicate this project to my inspiration Paul, who was there for me during all the ups and downs helping me through this amazing journey, my friend Mercedes who spent many hours helping me practice this work by accompanying me on the piano, my mother Joy, who also helped me practice the night before the performance, and lastly to my professor Dr. John Roscigno who has taught me for the past 2 years and gave me the wonderful opportunity to perform my favorite piece. It was a joy to study and conduct!
iii Table of Contents
Signature Page ...... ii
Dedication ...... iii
Abstract ...... v
Introduction ...... 1
Historical Background of Elgar ...... 2
The Variations ...... 6
Preparation for the Performance ...... 13
Preparing and Practice Methods ...... 13
Personal Interpretation ...... 14
Rehearsal Issues ...... 21
Final Performance...... 27
Bibliography ...... 28
Appendix A Tempo Chart ...... 30
Appendix B Thematic Chart ...... 31
iv Abstract
Conducting the Elgar Enigma Variations by
Laura Asenas
Master of Music in Music,
Conducting
Edward Elgar’s Enigma Variations is a compositional masterpiece that gained him recognition as one of England’s most beloved composers. Enigma Variations propelled the composer from musical obscurity to England’s high society, and was praised by contemporary musical luminaries such as Hans Richter and Richard Strauss. In addition to earning Elgar a knighthood and recognition among the general public, Variations is a seminal work with a place in every major orchestra’s standard repertoire. In particular, Variation IX (Nimrod) has become an audience favorite across the globe, and can be heard in countless film and TV soundtracks. This thesis will detail the process of preparing and performing Elgar’s masterwork with the CSUN Youth Orchestra Philharmonic. Areas of focus include a historical and thematic description of the piece, effective score study techniques, and rehearsal and performance issues unique to Enigma Variations. Rehearsals were conducted through the early spring of 2017, and the performance took place on March 5, 2017 at Plaza Del Sol on the campus of California State University Northridge. This performance was done in partial fulfillment of the requirements for the degree Master of Music in Orchestral Conducting under the supervision of Dr. John Roscignio.
v Introduction
This Graduate Orchestral Conducting Project combines the collective experience
of choosing a major work, studying the score, rehearsing the musicians, and then
performing the piece for a large audience. In this case, Edward Elgar’s Enigma Variations was chosen and approved by Dr. John Roscigno, conducting professor at California State
University, Northridge and was performed by the CSUN Youth Philharmonic.
The performance took place on March 5, 2017, at the Plaza del Sol as part of a larger concert in the youth orchestra’s series of concerts. Leonard Bernstein’s Candide
Overture and Shostakovich’s Symphony No. 5 3rd-4th movement were also performed
that night, making it a challenging and yet exciting program for the students. Rehearsals
for the program began in December 2016 with two and a half months of hard work and
preparation leading to the concert.
This paper will discuss critical points in the process of creating an informed,
successful artistic performance of the Enigma Variations. The four main topics outlined are Score Study, Personal Interpretation, Rehearsal Issues, and the Final Performance.
Each section will highlight important details including successes and difficulties that helped to shape the masterwork.
1 Historical Background of Edward Elgar
Born on June 2, 1857, the fourth of seven children, Elgar grew up in a family that
was very supportive of music. Elgar’s father was a piano tuner and organist at St.
George’s, a Roman Catholic Church, and taught music to all of the Elgar children. His mother, the daughter of a farm worker, encouraged Edward to pursue his musical
ambitions. As a boy, Elgar’s father exposed him to circles of amateur musicians and salon
performances. From these contacts and experiences, Elgar later developed his own group
of amateur musician friends, which eventually became the inspiration Elgar would draw
upon for Enigma Variations.
At the age of 29, Elgar married Caroline Alice Roberts on May 8, 1889. Eight years his senior, Alice was an older and well-educated woman. She was a published poet with a gifted eye for artistry, whether it be in poetry or editing Elgar’s music. A former piano student of his, Alice fell in love with the charming Elgar and recognized his potential as a brilliant composer. Alice’s family felt differently. As the daughter of a
Major-General, her family was upper class, and they disowned Alice because she married
a man who was not only much lower in social status, but also because of their religious
prejudices against his identity as a Roman Catholic. Elgar’s biographer Michael Kennedy
commented that "Alice's family was horrified by her intention to marry an unknown
musician who worked in a shop and was a Roman Catholic. She was disinherited.”1
Despite losing her social status when she married Elgar, she was determined to help him
succeed as a composer. She noted in her diary, “The care of a genius is enough of a life
1 Kennedy, Michael. Elgar, Sir Edward William, baronet (1857-1934). Oxford Dictionary of National Biography, (Oxford University Press, 2004).
2 work for any woman.”2 She displayed an untiring devotion to his work by copying sheet
music for Elgar, drawing staffs and lines on scoring paper for him, helping him edit his
compositions, and giving constant emotional support.
Growing up in a modest family background outside of Worcester, England,
Edward Elgar struggled most of his life to be considered an accomplished composer.
Throughout his 30s, Elgar earned little more than a local reputation for his early
compositions such as Salut D’amour, Serenade for Strings, Three Bavarian Dances, and
Caractacus. However, it was not until he produced Variations on an Original Theme
(later renamed Enigma Variations) at age 42 that he finally received the international
acclaim for his work that he had always desired. Hans Richter conducted the first
performance of Enigma Variations in London in 1899 at St. James’s Hall in Piccadilly,
drawing a standing ovation for the previously unappreciated composer. Rosa Burley, a
good friend and violin student of Elgar’s noted, “The first performance, unlike those of
many of Edward’s other works, was an immense success…as the changing moods of the
variations succeeded one another, tender, gay, and playful in turn many of the audience
felt profoundly moved.”3 Elgar music had connected with the general populace of
England in a personal way that other English composers had failed to do. Soon after his
initial success with Variations, Elgar was formally knighted at Buckingham Palace on
July 5, 1904, and became recognized as one of England’s foremost composers. Enigma
Variations established Elgar as a writer who championed England’s nationalistic pride.
2 Kennedy, Michael. Elgar, Sir Edward William, baronet (1857-1934). Oxford Dictionary of National Biography, (Oxford University Press, 2004).
3 Burley, Rosa and Frank C. Carruthers. Edward Elgar: the record of a friendship . (London: Barrie & Jenkins Ltd, 1972), 118.
3 Through Enigma Variations, Elgar delighted and connected with audiences by expressing the character of the English people in three distinct ways: he gave musical form to his friends and family, set a proper tone for nationalistic pride, and described the
English landscape. In this way, Enigma Variations champions the quirks and respectability of the English character. Elgar used specific compositional devices as a method of epitomizing the heart of England.
Compositionally, Elgar used characteristic motifs throughout Variations to parody or depict his friends with striking exactitude. Rosa Burley remarked that “In many cases...the portraiture was astonishingly accurate and the translation [of] physical or mental characteristics into musical terms wonderfully ingenious.”4 In her book Memories on a Variation, Elgar’s good friend Dora Powell (the subject of Variation X Dorabella) also commented on the striking likeness that each variation presented the group of friends.5 Elgar seemed to be quite proud of his achievement of producing music that was so representative of his colleagues, which he achieved through ornaments and articulations that mimicked the sounds and characteristics of his friends.
Another distinctive element of Variations is Elgar’s ability to write in what many described as a “noble” style. W.H. Reed, a fellow musician, noted that “Many of [Elgar’s] themes too have great dignity. I have often heard caviling remarks about his habit of marking such passages “Nobilmente”… When he wrote noble music, he was not in the
4 Burley, Rosa and Frank C. Carruthers. Edward Elgar: the record of a friendship . (London: Barrie & Jenkins Ltd, 1972), 117.
5 “Elgar Enimga Variations & Organ Sonata,” Hyperion Records, Accessed on March 14, 2017. http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67363.
4 least ashamed to label it.”6 Elgar made a point to distinguish his music as being “noble” by writing that directive into his music. It was seen at first as cliché by his peers but eventually came to be known as one of Elgar’s trademark compositional styles. For example, nationalistic variation, Nimrod, was praised as one of England’s most beloved pieces.
Elgar’s musical landscapes reminiscent of the country hillsides native to Britain are another unique compositional feature of Enigma Variations. Burley reminisces, “One may add that, more than any of his other works, the Variations bring to mind the peculiar quality of the countryside in which they were conceived.”7 A popular compositional tool many composers used in the Romantic Era of music was the use of folk songs as a foundation for new music to pay homage to their idyllic countrysides. Despite the prevalence of adopting folk music, Elgar prided himself for inventing original themes that sounded like folk songs. He achieved a tone that painted pictures of the countryside through his expansive and sonorous melodies and harmonies that roll like the hills of
Malvern.
6 Reed, W.H. Elgar As I Knew Him. (London: The Camelot Press Ltd., 1936), 139-140.
7 Burley, Rosa and Frank C. Carruthers. Edward Elgar: the record of a friendship. (London: Barrie & Jenkins Ltd, 1972), 128.
5 The Variations
The origin of Enigma Variations is an intriguing and famous story. According to
the composer himself, Elgar sat at his piano and was improvising random melodies when
his wife stopped him and commented on a melody she liked. He then humorously took
that theme and played it in the character of one of their friends poking fun at their
mannerisms and traits. His wife enjoyed it thoroughly, and Elgar continued to compose
more variations based on other musicians and friends within his circle which became
what we now know as Enigma Variations. What follows is a summation of extensive
writings from Elgar’s personal friends, as well as Elgar himself in his short essay My
Friends Pictured Within.8 It describes every variation in his words and his personal
friends who wrote about their affiliations with Elgar. The motives associated with each
variation are located in Appendix A.
Enigma Theme:
The original theme that Caroline Alice loved so much, the Enigma Theme,
expresses a melancholy side of her husband reflecting feelings of not being recognized as
a serious composer. Elgar himself wrote, “I have used the opening bars of the theme
(Enigma) of the Variations because it expressed when written (in 1898) my sense of loneliness of the artist as described in the first six lines of the Ode.”9 The first six
measures are written in G minor then counterbalanced by four measures in G Major. The
8 Elgar, Edward. My Friends Pictured Within . (London: Novello & Co, n.d.). Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/0/06/IMSLP339677- SIBLEY1802.27173.6d2a-39087004945996text.pdf.
9 Moore, Jerrold Northrop. Edward Elgar: Letters of a Lifetime. (Oxford: Clarendon, 1990), 248.
6 original theme is recapped with six more measures in G minor but maintains a positive outlook of hope, ending on a final G Major chord.
Variation I (C.A.E.):
Caroline Alice Elgar, Elgar’s wife, is portrayed in this variation through the oboe and bassoon in a triplet figuration. Elgar described in his writings that this variation as an extension of the Enigma Theme and as ‘romantic’ and ‘delicate’.10 With the triplet figure being in a minor key, one might question why Elgar would think of this variation as romantic or delicate. Donald Tovey provides one possible answer by identifying the triplet figure as a whistle tune that Elgar would use to call his wife when he got home from work.11
Variation II (H.D.S.P):
In Variation II, Elgar teased fellow musician Hew David Stuart-Powell by composing a parody of Powell’s infamous diatonic piano warm up exercise. Elgar describes this melody, which he writes for the violins, as deliberately frantic and
“chromatic beyond “H.D.S.-P.’s liking.”12 Elgar adds to the anxious character of the variation by splitting this disjunct melody between the first and second violins, writing it with difficult string crossings, and at a fast tempo.
10 Elgar, Edward. My Friends Pictured Within . (London: Novello & Co, n.d.), 6. Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/0/06/IMSLP339677- SIBLEY1802.27173.6d2a-39087004945996text.pdf.
11 Rushton, Julian. Elgar, Enigma Variations. (New York: Cambridge University Press, 1999), 34. Accessed January 12, 2017. http://quod.lib.umich.edu.libproxy.csun.edu/cgi/t/text/text-idx? c=acls;idno=heb07604.
12 Elgar, Edward. My Friends Pictured Within . (London: Novello & Co, n.d.), 8. Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/0/06/IMSLP339677- SIBLEY1802.27173.6d2a-39087004945996text.pdf.
7 Variation III (R.B.T.):
Richard Baxter Townshed is portrayed here based off of a play in which he had participated according to Rosa Burley.13 Townshed had an unusually high pitched voice
which is imitated in the oboes, the clarinets support with accompaniment. A bassoon solo mid-variation gives the impression of a surly old man poking fun at Townshed’s dramatic acting as the character of an old man in the play.
Variation IV (W.M.B.):
W. Meath Baker is a man who is shown through a memory that Elgar had.
According to Elgar in My Friends Pictured Within14, the squire left a room brusquely and
slammed the door on the way out. The variation is boisterous with the oboe and clarinet interrupting the ensemble in a vigorous fugue of the Enigma Theme. The finale ends with a sharp crescendo on the final note symbolizing the slamming of the door.
Variation V (R.P.A.):
Richard P. Arnold was seen as a very solemn man who was prone to outbreaks of
joy and humor. Elgar wrote that Arnold’s “serious conversations were continually broken
up by whimsical and witty remarks”.15 The variation reflects Arnold’s character by
beginning the variation with a heavy and somber strings section and the winds at bar 16
interrupting with a light dance-like tune.
13 Burley, Rosa and Frank C. Carruthers. Edward Elgar: the record of a friendship. (London: Barrie & Jenkins Ltd, 1972), 122.
14 Elgar, Edward. My Friends Pictured Within. (London: Novello & Co, n.d.), 12 . Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/0/06/IMSLP339677- SIBLEY1802.27173.6d2a-39087004945996text.pdf.
15 Elgar, Edward. My Friends Pictured Within. (London: Novello & Co, n.d.), 14. Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/0/06/IMSLP339677- SIBLEY1802.27173.6d2a-39087004945996text.pdf.
8 Variation VI (Ysobel):
Isabel Fitton, an amatuer violist, is the subject of the Variation VI. Elgar wrote the
name of the variation, Ysobel, as a pun on the subject’s real name because he was a lover
of word play and puns. Isabel’s melody and solo in the viola section was very fitting
because she was a viola student of Elgar’s. He notes in My Friend’s Pictured Within that
the melody is deliberately broken by string crossings to exemplify a difficult string
exercise.16 The bassoons compliment and answer the violas finishing the melodic phrase.
Variation VII (Troyte):
Written after A. Troyte Griffith, the timpani and cello suggests a stormy but
energetic mood for this variation. According to Elgar, Griffith was rather stubborn and
clumsy in his efforts to play the piano.17 This variation gives the impression of a man
who is performing a piece about to fall apart. Elgar characterizes himself in the brass as
the teacher trying to correct and stabilize his student’s offbeat nature portrayed in the timpani.
Variation VIII (W.N.):
Winifred Norbury was an amateur musician and the secretary for the Worcester
Philharmonic, which Elgar frequently conducted. She and her sister were put in charge of organizing music for the orchestra and copying sheet music. Her variation is not only a reflection of her charming personality but also a representation of her elegant home.
Elgar captures her unique laugh through a descending flute motif found in the music at
16 Ibid, 16.
17 Ibid, 18.
9 bar 3. The oboes start the phrase by making a funny trill motif symbolizing someone telling a funny joke, the flutes letting out a “hahaha” reply18.
Variation IX (Nimrod):
Nimrod is the Biblical name for “hunter” which is synonymous for Jaeger in
German, ergo this variation is named after Elgar’s publisher A.J. Jaeger. The piece is quite noble (Elgar marks it as nobilmente) in nature and takes the Enigma Theme and converts it into an Eb Major melody. Although Elgar states that this variation is not reminiscent of Jaeger’s personality or any sort of idiosyncrasy19, the variation is clearly written with intention of presenting a man who had been an influential force in his life who encouraged Elgar to continue composing. This is the most performed single variation and despite the major key, the variation has taken on a mournful connotation often played for funerals or major global tragedies.
Variation X (Dorabella):
Dora Penny Powell was one of Elgar’s closest friends despite being quite a bit younger in age. Elgar named the variation Dorabella after a character seen in Mozart’s
Cosi fan tutti. Elgar was quite fond of showing her the different variations, having her guess who the subjects were. Her variation is written as a dance-like intermezzo, the oboe features her manner of her stuttering speech patterns with an indication of a tenuto marking over the first note in a reoccurring group of sixteenth notes. The first note is to be held slightly too long while the other three sixteenth notes should be rushed.
18 Ibid, 20.
19 Ibid, 22.
10 Variation XI (G.R.S.):
Dr. George Robertson Sinclair was the only friend of Elgar’s in the circle of
friends portrayed in the variations who was a professional musician. Ironically, the
variation is not about him but about his bulldog, Dan. It is most likely that Elgar had
harangued Sinclair, as he had done with his other friends, showing off his work with the variations. To get even with him, Sinclair challenged Elgar to write to a variation based off an incident with Dan. The dog fell down a hill ending up in a river where he swam upstream, climbed out, and let out a joyous bark.20
Variation XII (B.G.N.):
Basil G. Nevinson was an amateur cellist that Elgar was quite fond. Both men
shared a love for science and music. Nevinson was a devoted friend and supported Elgar
while he was struggling to continue his work as a composer.21 A gorgeous sweeping cello
solo dominates this variation symbolizing Elgar’s gratitude toward Nevinson.
Variation XIII (*** Romanza):
Elgar chose to leave this variation a mystery with “***” symbolizing the initials
of a woman he claimed was on a voyage. Some have speculated that Lady Mary Lygon is
the woman represented in this variation, although Rosa Burley strongly suggests in her
memoir that Lady Mary Lygon is not the subject.22 We do not know who the subject is
and there is no clear evidence, only speculation of various women it could be. What we
20 Ibid, 26.
21 Ibid, 28.
22 Burley, Rosa and Frank C. Carruthers. Edward Elgar: the record of a friendship . (London: Barrie & Jenkins Ltd, 1972), 126.
11 do know is that the variation starts off quite cheerful in the key of G Major but quickly
the moods shift as a dark quotation of Mendelssohn’s Calm Sea and Safe Voyage is
quoted in the clarinets in F minor with the underlying timpani simulating the throbbing
engines of an ocean liner.23
Variation XIV (E.D.U.):
The final variation is based off of Edward Elgar himself, named E.D.U. not for the initials, but rather a synonym for the pet name (Edoo) that Elgar’s wife Alice would call him.24 This is the longest of the variations with the Enigma Theme now heard in G
major. Elgar includes themes from Variation I (his wife Alice) and Variation IX Nimrod
(his friend Jaeger), in the finale showing his indebtedness to his wife and friend for their
devoted support. The finale is triumphant, showing victory over his struggles as an artist.
23 Elgar, Edward. My Friends Pictured Within . (London: Novello & Co, n.d.), 30. Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/0/06/IMSLP339677- SIBLEY1802.27173.6d2a-39087004945996text.pdf.
24 Ibid, 32.
12 Preparation for the Performance
Preparing and Practice Methods:
For this performance of Enigma Variations, I found the following aspects of preparation critical: analyzing the piece for connections between motifs and Elgar's descriptions of his friends, marking the score effectively, and defining tempo relationships between variations. In addition to traditional score study methods, focusing on these areas of concentration before the first rehearsal allowed for a more efficient rehearsal process and a deeper understanding of the work as a whole.
An essential aspect of score study unique to Enigma Variations is identifying connections between the composer's friends and their characteristic motifs. Modern day performers do not have the benefit of personally knowing the composer or his friends.
Therefore, to play each variation properly, one must research the personal characteristics of the named friends musically depicted by the composer and the quality of their relationship. Fortunately, Elgar himself had written a short booklet called My Friends
Within that explained the different variations in this respect. Additionally, source material from many of the composer's friends and colleagues expands on Elgar's explanations. As a result of this research, each friend is identified by theme in Appendix B.
Preparing a complex piece such as Variations for performance can be aided through effective marking of the score. I employed two techniques that were particularly suited for this piece. On the suggestion of Dr. Stoffel, I first, graphically depicted the mood of each theme by drawing a matching facial expression on the first page of its corresponding variation. In performing such a character-driven work, these drawings
13 helped remind me as a conductor to exemplify the mood of each variation through my gestures and facial expression, rather than focusing too much on technical considerations.
The second technique I employed was highlighting soft dynamics in blue and stronger dynamics in red when multiple instruments played simultaneously at a variety of dynamic levels. Certain pages of the score of Enigma Variations can be challenging to read, in part because Elgar composed a number of dense orchestral passages throughout the piece. These passages contain many instrumental lines with conflicting written dynamics and articulations that clutter the printed page. Highlighting in blue and red simplified the task of score reading in complex sections, which allowed me to quickly address balance issues in rehearsal and performance.
Defining tempo relationships between variations was a critical aspect of preparing the work for the performance. This was necessary to execute challenging tempo changes both within and between variations. To do this, I formulated a chart of every variation listed with its tempo, meter, beat pattern, and ending tempo marking (Appendix A).
Making the chart not only helped reveal hidden tempo relationships between variations but also assisted in identifying which tempo transitions would be the most demanding to perform.
Personal Interpretation
When forming an interpretation of Enigma Variations, three sets of considerations frequently came to the front. In each variation, I had to make decisions regarding tempi, melodic and inner line balance, and whether to incorporate historically informed
14 practices. Most of these choices were made prior to the first rehearsal and refined over
the course of two months of practice leading to the final performance.
I found a useful way to elucidate my own reading of Variations was to sit down and play the composer's piano reduction of the piece. Elgar's orchestrations can be quite dense, making it troublesome to know which instrumental lines to emphasize. The reduced piano version (written by Elgar himself) reveals significant voices and inner counter melodies that are difficult to discover in the full orchestral score.
As both a violinist and violist, I understand these counter melodies provide a new dimension to the melody by giving them support and substance. To provide such a dimension, I generally prefer drawing out the inner voices of a piece in order to balance melody lines.
Figure 1: Edward Elgar, Enigma Variations, Enigma Theme. Andante, m. 16-1725
In the last two measures of the Enigma Theme (Fig. 1), it is easy to assume that
the first violins should be the loudest instrument heard because they carry the melody.
However, to properly support this melody in the first violins, I had the second violins and
25 Elgar, Edward. Enigma Variations: Variations on an Original Theme. (London: Novello & Co., 1899), 3. Accessed on November 24, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/1/1e/ IMSLP23792-PMLP07276-Elgar_-_Enigma_Variations__orch._score_.pdf.
15 cellos bring out their sumptuous descending minor scale counter melody. I achieved this by encouraging the celli to play with vigor and vibrato during that measure to ensure the proper dynamic balance between the sections. Additionally, calling attention to the minor scale makes the passage's final chord in G Major even more satisfying to the ear.
Choice of tempo is another area where personal interpretation can play a large role in how the individual variations are performed. The variation, Nimrod, is one of the most widely debated of the variations regarding correct tempo. Conductors have performed the piece with wildly differing tempi ranging from John Barbirolli’s å = 56 to
Leonard Bernstein’s å = 20-32.
Figure 2: 26
Original Nimrod Sketch å = 66
Current Score Tempo Marking å = 52
John Barbirolli å = 56
Georg Solti å = 40-48
Edward Elgar å = 44
CSUNYO Philharmonic å = 44-48
Daniel Barenboim å = 36
Colin Davis å = 36
Adrian Boult å = 34
Leonard Slatkin å = 32
Leonard Bernstein å = 20-32
26 Figure by Laura Asenas.
16 Originally Elgar had written in the sketches of Nimrod that the tempo should be å
= 66 then changed it to 72, and back to 66 for the original printed score.27 After several
premiere performances of the piece, Elgar wrote to Jaeger in 1903, “I always take Nimrod slower than M.M. in score. [Frederic] Cowen says it should be altered, what do you think?”28 Jaeger agreed and edited the score tempo to now read å = 52 as found in
modern editions. Although Elgar admits that he takes a “slower” tempo than the original
å = 66, it is still faster than the average of those taken by the representative list of conductors in Figure 2, å = 36.
In choosing a tempo for this performance of Nimrod, I weighed my personal
enjoyment of hearing Nimrod with slower tempos against considering the character Elgar
had intended for the piece. The common treatment of Nimrod is that “Through
irreversible processes of association, 'Nimrod' has acquired an independent life as a
national elegy”29 says Julian Rushton in his book Elgar, Enigma Variations. Jaeger was a
man that Elgar respected very much and inspired Elgar to continue working hard on his
compositions despite his frustrations at not being recognized as a serious composer. To me this meant that Nimrod was not to be treated as a slow elegy, but rather a dignified tribute to his friend and colleague. Taking the variation at a slower tempo would have
27 Robert Philip. "The Recordings of Edward Elgar (1857-1934): Authenticity and Performance Practice." Early Music 12, no. 4 (1984): 481-89. Accessed on January 12, 2017. http:// www.jstor.org.libproxy.csun.edu/stable/3137978.
28 Ibid.
29 Rushton, Julian. “ Elgar, Enigma Variations.” (New York: Cambridge University Press, 1999). Accessed January 12, 2017. http://quod.lib.umich.edu.libproxy.csun.edu/cgi/t/text/text-idx? c=acls;idno=heb07604.
17 indulged too much in an over-romanticized version of the piece. Taking a quicker tempo removes that sense of a sad lamenting song and instead propels the melody forward by building momentum and driving towards the climaxes. My desire was to present this variation in a balanced manner, taking the tempo slower than the written score but fast enough to keep the melody moving. I chose to conduct the CSUNYO Philharmonic at a tempo of å = 44 with the climax reaching roughly å = 48. This was a tempo that was slow enough to appreciate the beautiful countermelodies and orchestration Elgar was so masterful at while still pushing the melody forward enough to keep a sustained building of tension and final climax.
Another possible interpretative idea that I had considered was the use of portamento by the violins. In listening to a recording that Elgar had made of Enigma
Variations with the London Symphony Orchestra in 1926,30, the heavy use of portamento during the slow variations stood out amongst other recordings of Enigma Variations. It is intriguing that Elgar had chosen to record his music with articulations not marked in his original score. Not only were these articulations absent from his score but also not commonly practiced by modern orchestras in their recordings.
30 “Elgar Conducts Elgar- Enigma Variations op. 36” YouTube video, 27:01, posted by Goodmanmusica, March 3, 2013, https://www.youtube.com/watch?v=kaPtKoL-FsM&t=839s.
18 Figure 3: Example of original Enigma Variations theme with portamento.31
Further research revealed the heavy use of portamento was a common practice of
London-based orchestras in the 1920s which was tacitly accepted by Elgar. This does not necessarily mean that Elgar would have wanted modern players to continue performing his music in this fashion, as there is no evidence to suggest that Elgar liked or disliked the heavy use of portamento in his music. In his article The Recordings of Edward Elgar
(1857-1934): Authenticity and Performance Practice, Robert Philip makes a critical distinction between modern players and historical practices. He writes:
In order to slide as string players of the 1920s used to slide, it would not be enough for a modern player to note where the slides coming Elgar’s recordings and mark them in his part. He would have to relearn the habit of sliding routinely whenever there was a change of position and unlearn the modern notion that ‘clean’ playing is tasteful playing… Trying to unlearn modern ideas of clarity and precision would involve redefining the distinction between competence and style.32
In other words, if a modern musician wanted to play in the style of Elgar’s recordings, that musician would have to learn to privilege that particular sliding style over clarity. However, since modern standards require the musician to be clean and
31 Robert Philip, “The Recordings of Edward Elgar (1857-1934): Authenticity and Performance Practice,” Early Music 12, No 4 (1984): 481-89. Accessed on January 12, 2017. http:// www.jstor.org.libproxy.csun.edu/stable/3137978.
32 Robert Philip, “The Recordings of Edward Elgar (1857-1934): Authenticity and Performance Practice,” Early Music 12, No 4 (1984): 481-89. Accessed on January 12, 2017. http:// www.jstor.org.libproxy.csun.edu/stable/3137978.
19 articulate when performing, playing in such a style is not considered tasteful, and a performer would be ridiculed for playing with improper technique.
I eventually decided against the use of portamento because it was not written in the original score and would require the musicians to fundamentally relearn how to play their instruments without concern for clarity. It was tempting to do a performance that would perhaps be considered more authentic and closer to specifically what Elgar had recorded. However, when considering the original score, I felt it was more important to follow the specific written intentions of Elgar and portamento was never explicitly indicated.
20 Rehearsal Issues
Rehearsing Enigma Variations with the CSUNYO Philharmonic proved to be formidable due to the demanding technical passages, the variety of tempos, meter changes, and balance issues. It required the musicians to execute highly skilled techniques and display temporal awareness throughout changing meters and tempos. The variations that stood out as needing the most work were Variation II (H.S.D.P.), Variation
V (R.P.A.) leading into Variation VI (Ysobel), and Variation XIV (E.D.U.).
Variation II proved to be very challenging for the students because of its fast tempos, chromatic melodic content, and complicated string crossing in the violins. It was a technically difficult variation for the students to perform and also lacked a clear traditional melodic line. What the students did not understand was that Elgar had copied
Hew David Stuart-Powell’s unusual idiosyncratic piano warm up exercise and used that as the basis for the melodic content. The Variation II theme was not meant to sound elegant or traditional, it was meant to sound erratic and capture his friend’s eccentric style. According to Elgar, as noted earlier, H.D.S-P. did not like his variation very much because it was too chromatic;33 I suspect the students did not like it much either because of the difficulty they had playing it. In the rehearsals, I found it best to slow the tempo slightly for Variation II but kept it very steady, being absolutely clear with the beat which allowed the violins to play together with better accuracy and intonation.
Changing meters, sometimes abruptly, when directly moving into a new variation
33 Elgar, Edward. My Friends Pictured Within . (London: Novello & Co, n.d.), 8. Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/0/06/IMSLP339677- SIBLEY1802.27173.6d2a-39087004945996text.pdf.
21 posed a great challenge to the students who had difficulty altering the note values. For example, Variation V (R.P.A.) is in 12/8 meter that is attaca, leading directly into
Variation VI (Ysobel) which is in 3/2 meter. This is nettlesome for all the players because
they had previously been in a meter that while being conducted in 4, is truly felt with
triplet eighth notes in between beats and then it switches to 3/2 where the half note gets
the beat and essentially should have a three beat pattern. I resolved this problem by doing
a slight ritardando on the last measure and subdividing the last note on Variation V as
seen with slash marks in Figure 2. Subdividing the last beat enables the ensemble to see
and respond to the new tempo for the next variation.
Figure 2: Edward Elgar, Engima Variations, Variation V. Moderato, two measures before rehearsal 19.34
In Figure 2, the slashes at the end of the last measure show where I subdivided to
prepare for the next variation. The subdivision should match up seamlessly into the next variation. It was easier for the ensemble to see what the tempo of the quarter notes would be for proceeding variation. This worked fairly well for most of the ensemble except for the bassoons who had a difficult time trying to switch meters in Variation VI. The
bassoon’s melodies were so similar visually to the beginning of Variation V that they
struggled to subdivide the notes properly in Variation VI.
34 Elgar, Edward. Enigma Variations: Variations on an Original Theme. (London: Novello & Co., 1899), 30. Accessed on November 24, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/1/1e/ IMSLP23792-PMLP07276-Elgar_-_Enigma_Variations__orch._score_.pdf.
22 Figure 3: Edward Elgar, Engima Variations, Variation V. Moderato, bar. 1535
Figure 4: Edward Elgar, Engima Variations, Variation VI. Andantino, bar. 1936
Figure 3 and 4 constitute a visual comparison of the bassoon melodies from the beginning sections of Variation V and Variation VI. The melodic lines and rhythm look similar enough that the tempo and meter changes would fool less experienced players into thinking they are the same. However, the tempo and note values of the two melodies are very different. This section of music had to be rehearsed many times before the bassoons felt confident in their counting, with frequent reminders that I was conducting quarter notes instead of larger note values.
The most difficult variation to rehearse was Variation XIV (E.D.U.), owing most of its hurdles to perpetually changing tempos, prodigious chromatic passages in the string sections, extreme dynamics, and balance problems with the ensemble. Film composer
Bernard Hermann said, “The tempo variations that arise in the course of an Elgar work are so subtle and elastic that they demand from the conductor and performer an almost
35 Ibid, 24
36 Ibid, 31.
23 complete infatuation with the music."37 The final variation includes 16 instances of these
"elastic" tempo changes, connecting tempos as slow as half note=70 bpm and as fast as
half note=156 bpm. In order to adjust to and stay with the prevailing tempo at any given
time throughout the many transitions, the musicians needed to maintain constant eye
contact with me through entire variation.
Figure 5: Edward Elgar, Engima Variations, Variation XIV. Allegro, bar. 71.38
Variation XIV, Measure 71 (Fig. 5) is a representative snapshot of the difficulties the string section faced. In four measures of music, the strings encounter technically demanding chromatic melodies, aggressively loud dynamics, and a sudden deceleration at the ‘largamente’. This slowdown takes place over just a single measure, after which the music returns to tempo primo.
Because the Finale recapitulates themes from Variation I (C.A.E.) as well as
Variation IX (Nimrod), a benefit to significantly working on the final variation is the
37 Herrmann, Bernard. An American Voice: Edward Elgar Centenary Sketches (London: Novello & Co., 1957), 17-18.
38 Elgar, Edward. Enigma Variations: Variations on an Original Theme. (London: Novello & Co., 1899), 109. Accessed on November 24, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/1/1e/ IMSLP23792-PMLP07276-Elgar_-_Enigma_Variations__orch._score_.pdf.
24 simultaneous improvement to these previous variations. In Variation I (C.A.E.) it was difficult to hear the oboe and bassoon melody through the thick orchestration, as nearly every instrument besides the brass is playing accompaniment. To address this issue, I followed Dr. Roscigno’s suggestion to aggressively keep the string section playing absolutely pianissimo while the oboe and bassoon were playing their melodies.
Another difficult section for the orchestra in the final variation is at Measure 79 where the conductor must conduct in measure groupings (also called hypermeter). Elgar writes an accelerando that begins four measures before bar 77, which I set to start at half note equals 96. By the time the orchestra reaches bar 78 the tempo is approximately 104 bpm and is conducted in 2. By the time the ensemble reaches the apex of the accelerando
2 measures before bar 79, the musicians must reach a tempo of half note equals 156 in order to smoothly transition into bar 79 where Elgar writes whole note equals 84.
Figure 6: Edward Elgar, Engima Variations, Variation XIV. Allegro, bar. 7939
39 Elgar, Edward. Enigma Variations: Variations on an Original Theme. (London: Novello & Co., 1899), 122. Accessed on November 24, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/usimg/1/1e/ IMSLP23792-PMLP07276-Elgar_-_Enigma_Variations__orch._score_.pdf.
25 The melody is grouped in measures of three as indicated with the brackets. This
was unusual for the musicians to see because the music in the previous sections consisted
of quarter notes, half notes, or eighth notes instead of whole notes. The students struggled to understand this section because they had a hard time seeing the melody develop and progress amongst the whole notes. They were confused when I would conduct this section in patterns of 3, instead of in 1. I explained several times to the students that at bar 79 I would conduct in a three pattern and that every beat I would show covered one measure. Similarly, at bar 81 the grouping changes into four whole notes per group, and I would conduct in a four pattern. Because the ensemble was only able to meet once a week, it was imperative to reinforce the grouping concept by practicing this section at every rehearsal. Once the students began to understand the groupings, the transitions were much easier to play and perform effectively.
26 Final Performance
On the day of the performance, March 5th, 2017, the CSUNYO Philharmonic had a short dress rehearsal before the final performance of Enigma Variations, where I worked for roughly 25 minutes rehearsing lingering difficulties. Most of the problem areas involved starting variations, setting the proper tempo, and balance issues. Clear conducting gestures and confidence projected from the podium helped to address some of these issues before the concert began.
Overall the performance with the youth orchestra was a great success. With such a substantial program for the students, I believed I would elicit their best performance of
Enigma Variations by conducting with clarity and confidence, demonstrating expressive gestures and facial expressions, and using new gestures to maintain the attention of the students. I conducted Variation II at a slower tempo allowing the strings section to really be able to play confidently with great intonation. Following the concert, Dr. Roscigno noted that because I had conducted so confidently and with a better variety in my gestures, the group had followed my direction much more intently than they had in rehearsals. The finale variation turned out quite well with the slight exception of a passage where the tempo is marked “poco piú tranquillo”. Instead of relaxing the tempo, the cellos continued forward at the previous tempo causing the group to get off track. It was only a minor incident and the group quickly recovered. The Philharmonic played the conclusion of the piece with animated vigor and I left feeling quite satisfied that this was the best performance both the ensemble and I could have done that night.
27 Bibliography
Adams, Byron. “Edward Elgar and His World.” New Jersey: Princeton University Press, 2007.
Burley, Rosa and Frank C. Carruthers. Edward Elgar: The Record of a Friendship. London: Barrie & Jenkins Ltd, 1972.
Elgar, Edward. “Enigma Variations: Variations on an Original Theme.” London: Novello & Co., 1899. Accessed on November 24, 2016. http://ks.petruccimusiclibrary.org/ files/imglnks/usimg/1/1e/IMSLP23792-PMLP07276-Elgar_- _Enigma_Variations__orch._score_.pdf.
Elgar, Edward. “My Friends Pictured Within.” London: Novello & Co, n.d. Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/ imglnks/usimg/0/06/IMSLP339677 SIBLEY1802.27173.6d2a-39087004945996text.pdf.
Elgar, Edward. “Enigma Variations for Piano Solo.” London: Novello & Co., 1899. Accessed November 26, 2016. http://ks.petruccimusiclibrary.org/files/imglnks/ usimg/1/10/IMSLP09643-Elgar_op38_enigma_variations_piano.pdf
“Elgar: Enigma Variations, Leonard Slatkin conducts” YouTube video, 52:15, posted by Don Goncau, August 22, 2016, https://www.youtube.com/watch? v=zv3qg10j760&t=2090s.
Herrmann, Bernard. An American Voice: Edward Elgar Centenary Sketches. London: Novello & Co., 1957.
Hyperion Records. “Elgar Enimga Variations & Organ Sonata.” Accessed on January 12, 2017. http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67363.
Kennedy, Michael. Elgar Orchestral Music. Seattle: University of Washington Press, 1971.
Kennedy, Michael. “Elgar, Sir Edward William, baronet (1857-1934).” Oxford Dictionary of National Biography, Oxford University Press, 2004.
Moore, Jerrold Northrop. Edward Elgar: Letters of a Lifetime. Oxford: Clarendon, 1990.
28 Philip, Robert. "The Recordings of Edward Elgar (1857-1934): Authenticity and Performance Practice." Early Music 12, no. 4 (1984): 481-89. Accessed on January 12, 2017. http://www.jstor.org.libproxy.csun.edu/stable/3137978.
Reed, W.H. Elgar As I Knew Him. London: The Camelot Press Ltd, 1936.
Rushton, Julian. “Elgar, Enigma Variations.” New York: Cambridge University Press, 1999. Accessed on January 12, 2017. http://quod.lib.umich.edu.libproxy.csun.edu/ cgi/t/text/text-idx?c=acls;idno=heb07604.
29 Appendix A: Tempo Chart
Tempo Meter Conducting Ending Meter Pattern of Variation
.Original Andante å = 63 4/4 In 4 Rit. with Theme: attacca
Variation I Andante å = 63 4/4 In 4 Rit. with non (C.A.E.) attacca
Variation II Allegro å. = 58 3/8 In 1 Non attacca (H.D.S.-P.)
Variation III 3/8 In 3 Non attacca (R.B.T.) Allegro = 58 e Variation IV 3/8 In 3 Non attacca (W.M.B.) Allegro di Molto ç. = 69
Variation V Moderato 12/8 In 4 Rit. with attacca (R.P.A.) å. = 63
Variation VI 3/2 In 6 Non attacca (Ysobel) Andantino ç = 48 (Sub 3)
Variation VII 1 In 2 Non attacca (Troyte) Presto ç = 72
Variation VIII Allegretto å. = 52 6/8 In 6 Rit. with attaca (W.N.)
Variation IX Adagio å = 54 3/4 In 3 Non attacca (Nimrod) Variation X Allegretto 3/4 In 3 Non attacca (Dorabella) å = 76 Variation XI 2/2 In 2 Non attacca (G.R.S.) Allegro di Molto ç = 90
Variation XII Andante å = 63 4/4 In 4 Rit. with attaca (B.G.N.)
Variation XIII Moderato å = 76 3/4 In 3 Rit. with attacca (***) Variation IVX 4/4 In 2 Fini (E.D.U.) Allegro ç = 80
30 Appendix B: Thematic Chart
Enigma Theme:
Variation I (C.A.E.): Caroline Alice Elgar Wife
Variation II (H.D.S.-P.): Hew David Steuart-Powell Amateur Pianist
Variation III (R.B.T.) Richard Baxter Townshed Friend
Variation IV (W.M.B.) W. Meath Baker Friend
Variation V (R.P.A.) Richard.P. Arnold Amateur Pianist
31 Variation VI (Ysobel) Amateur Violist
Variation VII (Troyte) Troyte Griffith Friend/Amateur Pianist
Variation VIII (W.N.) Winifred Norbury Amateur Musician
Variation IX (Nimrod) A.J. Jaeger Friend/Manager
Variation X (Dorabella) Dora Penny- Powell Friend
32 Variation XI (G.R.S.) Dr. George Robertson Sinclair with Dan the Bulldog
Variation XII (B.G.N.) Basil G. Nevinson
Variation XIII (***) Unknown
Variation IVX (E.D.U.) Edward Elgar
33