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≥ Elgar Enigma Variations Serenade for Strings

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≥ Elgar Enigma Variations Serenade for Strings SIR EDWARD ELGAR (1857–1934) ≥ VARIATIONS ON AN ORIGINAL THEME (‘ENIGMA’), OP.36 1: Theme . .1.40 ELGAR 2: I C.A.E. .1.41 3: II H.D.S.-P. .0.48 ENIGMA VARIATIONS 4: III R.B.T. .1.23 5: IV W.M.B. .0.29 SERENADE FOR STRINGS 6: V R.P.A. .2.16 7: VI Ysobel . .1.23 COCKAIGNE (IN LONDON TOWN) 8: VII Troyte . .1.01 CHANSON DE MATIN 9: VIII W.N. .1.53 10: IX Nimrod . .4.02 SIR MARK ELDER 11: X Intermezzo: Dorabella . .2.37 12: XI G.R.S. .0.57 ENIGMA VARIATIONS 13: XII B.G.N. .2.47 RECORDED LIVE 16, 17 AND 20 OCTOBER 2002 14: XIII * * * . .2.54 IN THE BRIDGEWATER HALL, MANCHESTER 15: XIV Finale: E.D.U. .5.28 COCKAIGNE (ORGAN) RECORDED 17 OCTOBER 2002 IN THE SERENADE FOR STRING ORCHESTRA IN E MINOR, OP.20 BRIDGEWATER HALL, MANCHESTER 16: I Allegro piacevole . .3.32 SERENADE FOR STRINGS, COCKAIGNE, 17: II Larghetto . .6.29 CHANSON DE MATIN RECORDED 7–8 JULY 2002 IN BBC STUDIO 7, 18: III Allegretto – Come prima . .2.46 NEW BROADCASTING HOUSE, MANCHESTER 19: COCKAIGNE (IN LONDON TOWN), OP.40 . .14.45 20: CHANSON DE MATIN, OP.15 NO.2 . .3.26 21: ORIGINAL FINALE TO ‘ENIGMA’ VARIATIONS CD HLL 7501 WORLD PREMIERE RECORDING . .4.06 TOTAL TIMING . .67. 16 ≥ MUSIC DIRECTOR SIR MARK ELDER CBE LEADER LYN FLETCHER PRODUCER ANDREW KEENER ENGINEER SIMON EADON All rights reserved. Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited. In the United Kingdom, licences for public performance or broadcasting may be obtained from Phonographic Performance Ltd, 1 Upper James Street, London W1R 3HG. EDWARD ELGAR him. Elgar was riled but on 12 July 1899 supplied a revised, more grandiose, ending, adding 96 bars and ENIGMA VARIATIONS, OP.36 providing an optional organ part. The original ending was not heard again until 1968 when it was used for SERENADE FOR STRINGS, OP.20 Sir Frederick Ashton’s ballet Enigma Variations. Both endings are included on this recording. COCKAIGNE (IN LONDON TOWN), OP.40 CHANSON DE MATIN, OP.15 NO.2 Although the Variations proclaimed Elgar’s genius, this could have been discerned from the enchanting Serenade in E minor for strings, which he wrote in 1891–92 although it is almost certainly a revision of the Three Pieces The Enigma Variations is the work with which Elgar won national and international recognition after years of for strings which he composed in 1888. The first and second of the Three Pieces were called ‘Spring Song’ and struggle when his reputation was not much more than provincial. He sent the score to the Austro-Hungarian ‘Elegy’, perfect descriptions of the equivalent movements in the Serenade. Elgar had a special affection for it and conductor Hans Richter, who was about to take up his post as conductor of the Hallé. Richter included it in one of it was one of the last two works he conducted in the recording studio in 1933. The central Larghetto, with its his London concerts on 19 June 1899 and repeated it on 23 October. He conducted it with the Hallé in February sustained mood of elegiac nobility, is the strongest pointer in early Elgar to the writer of the slow movements of 1900 in Birmingham, Liverpool, Manchester and Bradford. Other continental conductors followed suit. the symphonies. One evening in October 1898, at his home in Malvern, Elgar sat at the piano, lit a cigar and improvised. His wife Cockaigne (In London Town) was written in 1900–01 and dedicated ‘to my friends the members of British interjected: ‘That’s a good tune. What is it?’ ‘Nothing yet’, he replied, ‘but something might be made of it.’ He orchestras’. It is a sound-picture of London at the time of Queen Victoria’s diamond jubilee in 1897. Like the began to vary the theme, saying ‘Powell would have done this’ or ‘Nevinson would have looked at it like this’. Thus Variations, it shows Elgar as a master of orchestration. Its multiplicity of themes depict cheeky Cockneys, lovers began his idea of a musical portrait-gallery of his friends, whom he disguised under their initials or nicknames in the parks, and a military band. The idea for it came to him ‘one dark day in the Guildhall: looking at the such as No.9 Nimrod (his friend and musical editor A.J. Jaeger — Jaeger being German for ‘hunter’ and the memorials of the city’s great past and knowing well the history of its unending charity, I seemed to hear far biblical Nimrod having been ‘a mighty hunter’). The work was fully scored by 18 February 1899. H.D.S.-P. (No.2, away in the dim roof a theme, an echo of some noble melody’. He described Cockaigne in a letter to Richter as H.D. Steuart-Powell), B.G.N. (No.12, B.G. Nevinson) and W.M.B. (No.4, W. Meath Baker) were among the first to ‘honest, healthy, humorous and strong but not vulgar’. He conducted the first performance in London on 20 June be sketched. They were friends of Elgar and his wife, as were R.B.T. (No.3, R.B. Townshend), R.P.A. (No.5, R.P. 1901. He went to Manchester to hear the Hallé play it under Richter on 24 October and wrote afterwards to Arnold), Ysobel (No.6, Isabel Fitton), Troyte (No.7, A. Troyte Griffith), W.N. (No.8, Winifred Norbury) and Jaeger (‘Nimrod’): ‘Orchestra the finest I ever heard: not so big as Leeds [Festival] but gorgeous... Cockaigne was Dorabella (No.10, Dora Penny). Only one of the variations was a professional musician, G.R.S. (No.11, G.R. Sinclair, glorious last night under Richter. I don’t think you London Johnnies know what orchestral playing is until you organist of Hereford Cathedral). No.1 (C.A.E.) is Elgar’s wife Alice and No.14 (E.D.U) is himself. hear the Manchester orchestra’. Richter was one of the greatest interpreters of Wagner’s Die Meistersinger and Some mystery surrounds No.13 (* * *), a Romanza. Elgar said the asterisks stood for Lady Mary Lygon of there are obvious similarities between its overture and Cockaigne. Madresfield Court, who was about to sail to Australia. Drums and lower strings sound like a liner’s engines and a In 1897 Elgar composed a short and sombre piece for violin and piano which he called ‘Evensong’ but which was clarinet quotes from Mendelssohn’s Calm Sea and Prosperous Voyage. There is a theory that Elgar was also published as Chanson de nuit. At the same time he sketched a companion piece but did not complete it until the remembering his broken engagement to a Worcester violinist, Helen Weaver, who contracted tuberculosis and end of February 1899 just after finishing the full score of the Enigma Variations. He sent it to Novello’s with a emigrated to New Zealand in 1885. note saying: ‘I have suggested calling this “cheerful” piece Chanson de matin’. It is a perfect little aubade, as Why ‘Enigma’? The word was added to the score only about a month before the first performance, written in fresh as morning dew and with that airy, out-of-doors quality that was Elgar’s secret. He made orchestral pencil by Jaeger. Elgar later said that the theme represented ‘the loneliness of the creative artist’ and it is now versions of both pieces at the end of 1900 and it is in this form that they have proved most popular. generally agreed that it therefore represents Elgar himself. He further complicated the matter by saying that © Michael Kennedy 2003 ‘through and over the whole set another and larger theme “goes”, but is not played’. Did he mean a well-known tune or an abstract theme like friendship? We shall never know, but that stops no one trying to guess. What matters most is the magic of the music — which never stales, always sounds fresh — and the mastery of the orchestration. After the first performance Jaeger said he thought the work ended too abruptly and that Richter agreed with SIR MARK ELDER CBE CONDUCTOR FIRST VIOLINS VIOLAS OBOES BASS TROMBONE Lyn Fletcher Timothy Pooley Jenny Galloway Adrian Morris Mark Elder became Music Director of the Hallé in September 2000. Frequently invited to work with many of the Sarah Ewins Julian Mottram Hugh McKenna world’s leading symphony orchestras and opera companies, he was awarded the CBE by the Queen in 1989 and Adi Brett Ruth Treloar Virginia Shaw TUBA won an Olivier Award for his outstanding work at English National Opera where he was Music Director between John Gralak Andrea Gilliatt Ewan Easton Liz Rossi Robert Criswell COR ANGLAIS 1979 and 1993. He was Principal Guest Conductor of the City of Birmingham Symphony Orchestra from 1992 to ≥ Alison Hunt Susan Voysey Thomas Davey TIMPANI 1995, and Music Director of the Rochester Philharmonic Orchestra in the USA from 1989 to 1994. He has also Sally August Gemma Hunter John Moate Peter Stacey Piero Gasparini CLARINETS been Principal Guest Conductor of the BBC Symphony Orchestra and the London Mozart Players. Anne Wilson Anthony Bateman Lynsey Marsh PERCUSSION In addition to working with orchestras all over the world he enjoys a close association with both the London Helen Bridges Susan Hodgson Alan Haydock David Hext Victor Hayes Pamela Ferriman Jo Patton Riccardo Lorenzo Philharmonic and the Orchestra of the Age of Enlightenment. He is a frequent guest with the Royal Opera, Michelle Marsh Christopher Emerson Parmigiani Metropolitan Opera in New York, Opéra National de Paris, Lyric Opera of Chicago, Glyndebourne Festival Opera Alexandra Johnson Raymond Lester BASS CLARINET Richard Smith Amyn Merchant James Muirhead Kate Eyre and the Bayerische Staatsoper, Munich.
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