Interpreting Elgar’s “Enigma Variations” BY ANDREW P. SIMCO he “Enigma Variations” (or “Varia- feeling persisted in Britain until the mid- play the piano. tions on an Original Theme,” opus to late-1950s.) The variation is marked Presto (whole T36) by Sir Edward Elgar is gener- Nowadays, we have the luxury of note = 76), and is marked one in a bar! ally considered to be the composition that larger drum sizes for projection, as well Timpani, accompanied by celli and bassi, made Elgar’s reputation as a composer. It as the use of a fourth drum to cover the start the whole thing off with a rhythmic is the most often played of his orchestral upper register (in the case of the Varia- figure on C and octave G’s, and this fig- works, particularly in the United States, tions, the high G in Variation VII, ure (with some rhythmic displacement) where the bulk of his musical output re- “Troyte”). As this variation is one of the underpins the entire variation (see Fig- mains largely unknown. In addition to two “problem” variations, we will discuss ure 1). being one of his most often-played compo- this first. While the bass and celli continue the sitions, it is both challenging and musi- rhythmic underpinning at bar 5, the tim- cally rewarding for timpanists. In this VARIATION VII (TROYTE) pani remain silent until four bars before article, I will concentrate on two of the For those unfamiliar with the “Enigma Rehearsal 24, where they catch the syn- most well-known “problem” variations— Variations,” the work consists of an intro- copation (see Figure 2). those that provide the timpanist with duction and fourteen variations. Each of Here, the timpani make a diminuendo more than the usual technical and/or mu- the variations is subtitled with the ini- on the second half of the third bar, and sical challenge. tials of a person. These are the initials of then repeat the opening rhythmic For most of the composition, Elgar pre- Elgar’s friends, whom he portrayed in ostinato at Rehearsal 24, this time with a sents no real problems. The work is music, and to whom he dedicated the big crescendo to triple forte. scored comfortably for three timpani. At work. Variation Number One, for ex- This recurs throughout the movement, the time it was written (ca. 1898–99), ample, is subtitled C.A.E. This is Elgar’s and while not overly difficult, it is musi- this meant hand-tuned timpani. Al- wife Caroline Alice Elgar. Variation four- cally challenging for several reasons. though pedal or machine-tuned timpani teen is subtitled E.D.U., which was Mrs. First and foremost, Elgar was a first-rate were being developed and manufactured Elgar’s nickname for the composer. orchestrator with hands-on knowledge of on the Continent, British players were Variation VII is subtitled Troyte, which many of the orchestral instruments. In leery of such instruments, as they felt was the middle name of one of Elgar’s addition to being an excellent organist that any type of machine-tuning appara- friends, Arthur Troyte Griffith. The and violinist, he also played viola and tus would interfere with the pure tone variation describes in musical terms bassoon. He was also curious by nature, provided by hand-tuned timpani. (This Troyte Griffith’s maladroit attempts to and when he found that he was lacking Figure 1 Figure 2 PERCUSSIVE NOTES 46 FEBRUARY 1999 in knowledge about a particular instru- generally keeping things in order. How- 28-inch drum to G. In this manner, I am ment, he went right to the source. In the ever, the placement of the timpani to the ready for Variation VII. case of the “Enigma Variations,” he went rear of the orchestra (at a great distance With regard to mallet selection, I to the timpanist with the Halle Orches- from the celli and bassi) make it difficult would choose medium-hard to hard mal- tra! This was the orchestra that gave the for the timpanist and lower strings to co- lets, as articulation is extremely impor- world premiere of the “Enigma Varia- ordinate this perfectly. The timpanist has tant here. As far as sticking goes, it is tions” under the direction of Hans Rich- to anticipate things a bit (generally played hand to hand, with the player be- ter in June 1899. As we shall see later on, speaking), while the lower strings tend to ing careful to observe the accents and dy- the timpanist (probably Wilhelm Gezink) be a little bit late, particularly with an namics! With regard to the roll on C at was extremely helpful to Elgar in provid- athletic rhythmic figure such as this. My Rehearsal 28, I would play that as a ing solutions to some of the problems. As advice to the timpanist (particularly one three-stroke roll, as the fast tempo does a result of the care he took in orchestra- new to the piece) is to take particular not allow for more than that. The impor- tion, Elgar’s timpani parts (particularly care to study the score and be aware of tant thing to remember is, don’t be late! in the variations, but also in his other what is going on. A good conductor can compositions) are a joy to play, with ev- make this movement go smoothly with VARIATION XIII (ROMANZA) (***) erything laid out beautifully. There are the right amount of rehearsal and coordi- This is the penultimate variation in no tricks (for the most part; the exception nation. the work, and the only one without a is Variation 13, which we will discuss be- As to the technical aspects of the part, name. Elgar calls it “Romanaza,” and low). The parts lay within the best part of it is played on the upper three drums. In then puts three asterisks in parentheses. the register (particularly nowadays when most cases, that would mean the 28-inch, Apparently, these asterisks stand for one we have the larger instruments), and 25-inch, and 23-inch, depending on Lady Mary Lygon, a friend of Elgar who they fit the music like a glove! manufacture. The low G and C sound was away on a sea journey at the time of In the case of Variation VII, Elgar was better on the largest drums, but why cre- composition. Elgar’s orchestration in this particular as to how he placed the ac- ate problems by having the low G on the variation certainly supports this, particu- cents so that the music made the in- 32-inch, the C on the 28-inch, and having larly in the use of the timpani. I men- tended effect (see Figures 3 and 4). to hop over the 25-inch to get to the 23- tioned earlier that Elgar was very clear I mentioned before that Elgar’s tim- inch G? I prepare the drums during the in his instructions to the performer in the pani parts fit his music like a glove. This previous variation. Up until that point, I execution of the parts, with very few ex- is another reason why this particular have been using the larger drums for the ceptions. This, in my view, is one of the variation is musically challenging! Great G, C, D, and what-have-you. At the be- exceptions. In order to imitate the sounds care must be taken to be absolutely pre- ginning of Variation VI (Ysobel), I retune of the engines of an ocean liner, Elgar di- cise, and to be aware of what the celli the 25-inch drum from D to C, and actu- rects the timpanist to play the passage at and bassi are doing. The problem here is ally play variation VI on that drum. The one bar after Rehearsal 56 with side keeping up the pace. It is very easy to roll on the note C at Rehearsal 22 is help- drum sticks (see Figure 5). rush this movement. A good conductor is ful in getting ready for Variation VII. I This all right in itself, but as the music helpful here by setting the tempo and also use the time to retune the C on the continues, we come to Rehearsal 58, Figure 3 Figure 4 Figure 5 PERCUSSIVE NOTES 47 FEBRUARY 1999 where he directs the player to use natu- the passage themselves with coins, and for the last nine bars of the variation (see ral sticks—without giving the player the having a colleague from the percussion Figure 7). chance to make the change (see Figure section come over to play the passage This is not a problem in itself except 6). from Rehearsal 58 to 59. This is perfectly for the fact that many conductors like to One solution to this is to use a pair of legitimate, and works very well. A varia- go right into the finale (Variation XIV) double-ended timpani mallets, with one tion on this is to have the colleague do with only the most minute of pauses. end having wooden ball or egg-shaped the tremolo with coins while the timpa- Again, I play the passage with coins, ends, and the other covered with medium nist plays the Naturale passage. making the most of the diminuendo on to medium-hard felt. I used a pair of I have tried the passage with sticks the last bar. I quickly grab a mallet for Hinger mallets in this fashion quite suc- and coins, and agree that the coins near the first offbeat of the next variation, and cessfully on several occasions.