Describe ways in which Elgar uses the orchestra in the first

movement of his first symphony.

Dan Brown
Elgars first symphony was completed in 1908 however it had been a labour of
love for the self-taught English composer, and had been planned for over 10
years. It is one of the only British symphonies to have reached international
success, and it is part of the standard symphonic repertoire, along with other
works by European greats such as Berlioz and Mahler, for many world leading
orchestras. As Elgar expert Michael Kennedy correctly states, it is due to Elgars
mastery of the orchestra that he ranks among the great orchestrators. In this
essay I will highlight key ways in which Elgar utilizes a massive symphony
orchestra in the first movement of his first symphony.
Movement one begins with a sparse introduction, giving the main idea, the motto
theme, the space it needs. Here the orchestration is unusual as the melody is
conveyed by the flutes, clarinets, bassoons and violas as opposed to violins (in my
opinion giving the melody a warmer timbre). The clarinets and violins are also
playing in octaves, thickening the texture. The melody is underpinned by a
staccato crotchet walking bass line provided by the lower strings. In the opening
Elgars detailed scoring is also seen with very particular phrase marks, and the
expression marking dolce in the woodwind. 7 Bars before figure 2 the horns are
introduced and they are instructed to play with mutes, giving them their
characteristic warm tone. The melody reaches a climax 2 bars before figure 2,
heighted by the high A played in the violas; a note right at the top of the
instruments range. In stark contrast to the opening at figure 3 Elgar uses the full
orchestra for the first time to convey the motto theme. Here also Elgars unusual
string writing is evident and in the 3
rd
bar after figure 3 the violin 2s are
instructed to play a higher notes on a lower, thicker string giving them a more
resonant sound. 4 Bars after 4 the instrumentation is thinned back down to the
instruments used in the opening as the motto theme melts away.
The exposition marked Allegro and appassionato starts at figure 5 and is led into
with an accented anacrusis played by the clarinets, bassoon, violin 1s, 2s and
violas. In particular the anacrusis is marked as a down-bow, allowing players to
have more control over the note; control needed, as is it immediately follow by a
crescendo. The subject 1 motif is played by a mixture of instruments from all
sections. The flutes and horns however only play the dotted rhythm of the idea,
giving it more emphasis and increasing the lilting feel it creates. In the 4
th
bar
after figure 6 there is a massive climax created with the addition of the lower
brass as well as the trumpets. The violin 1 hits a super A and the dynamics reach
forte fortissimo; at figure 7 however the dynamics drop back down to piano, this
is an example of how Elgar uses volume to add contour to the music.
As opposed to the chromatic and aggressive feel of subject 1 subject 2 is calmer
and more diatonic, having a major tonality (F major); this is complimented by lack
of bass. At 15 the expression marking giusto is used meaning strictly, this
coupled with sfortzandos helps to increase the feel of syncopation in the melody.
6 Bars before the start of the codetta two more string techniques are introduced;
vibrato and a gliss. Yet again this shows how Elgar is fully exploiting the
capabilities of each instrument in the orchestra.
The development starts at figure 18. This section uses a simple arc shape to both
build up and come down from the main climax at figure 27. Because of this the
development starts with only the string section playing tenderly and at
pianissimo. At figure 21 antiphony is used as the melody is passed between the
woodwind and strings. 5 Bars after figure 22 the cellos, violas and violin 2s are
instructed to play with tremolo at the bridge whereas the violin 1s are playing
with pizzicato. It is because of parts like these that I agree with Kennedys
statement; Elgars orchestration is firmly based on the strings.
The recapitulation starts at figure 32 at the orchestration of subject 1 is virtually
the same to in the exposition, apart from a few differences; the basses arent
playing at all at the start making it a bit less intense and the cellos are playing
material from figure 19 rather than minims. At subject 2 for the first time, the
cellos are divided into 3 separate parts which is unusual in string writing. The coda
starts with only 4 players playing 4 individual lines of music as violin 1s, 2s, violas
and cellos all have the instruction to play last desk only. Finally the movement
concludes with an Ab major chord played by the lower strings and the clarinets
playing in thirds in their lower tessitura.