Edward Elgar

Elgar redirects here. For other uses, see Elgar (disam- Dream of Gerontius (1900), based on a Roman Catholic
biguation). text that caused some disquiet in the Anglican establish-
Sir Edward William Elgar, 1st Baronet OM GCVO ment in Britain, but it became, and has remained, a core
repertory work in Britain and elsewhere. His later full-
length religious choral works were well received but have
not entered the regular repertory.
In his fties, Elgar composed a symphony and a violin
concerto that were immensely successful. His second
symphony and his cello concerto did not gain immediate
public popularity and took many years to achieve a reg-
ular place in the concert repertory of British orchestras.
Elgars music came, in his later years, to be seen as ap-
pealing chiey to British audiences. His stock remained
low for a generation after his death. It began to revive
signicantly in the 1960s, helped by new recordings of
his works. Some of his works have, in recent years, been
taken up again internationally, but the music continues to
be played more in Britain than elsewhere.
Elgar has been described as the rst composer to take the
gramophone seriously. Between 1914 and 1925, he con-
ducted a series of acoustic recordings of his works. The
introduction of the microphone in 1925 made far more
Edward Elgar, c. 1900 accurate sound reproduction possible, and Elgar made
new recordings of most of his major orchestral works and
(2 June 1857 23 February 1934) was an English com- excerpts from The Dream of Gerontius.
poser, many of whose works have entered the British
and international classical concert repertoire. Among
his best-known compositions are orchestral works in-
cluding the Enigma Variations, the Pomp and Circum-
1 Biography
stance Marches, concertos for violin and cello, and two
symphonies. He also composed choral works, including
The Dream of Gerontius, chamber music and songs. He
was appointed Master of the Kings Musick in 1924.
Although Elgar is often regarded as a typically English
composer, most of his musical inuences were not from
England but from continental Europe. He felt himself to
be an outsider, not only musically, but socially. In musi-
cal circles dominated by academics, he was a self-taught
composer; in Protestant Britain, his Roman Catholicism
was regarded with suspicion in some quarters; and in
the class-conscious society of Victorian and Edwardian
Britain, he was acutely sensitive about his humble origins
even after he achieved recognition. He nevertheless mar-
ried the daughter of a senior British army ocer. She in-
spired him both musically and socially, but he struggled
to achieve success until his forties, when after a series
of moderately successful works his Enigma Variations
(1899) became immediately popular in Britain and over- Elgars birthplace, Lower Broadheath
seas. He followed the Variations with a choral work, The

1
2 1 BIOGRAPHY

1.1 Early years

Edward Elgar was born in the small village of Lower

Broadheath, outside Worcester, England. His father,
William Henry Elgar (18211906), was raised in Dover
and had been apprenticed to a London music publisher.
In 1841 William moved to Worcester, where he worked
as a piano tuner and set up a shop selling sheet music and
musical instruments.[1] In 1848 he married Ann Green-
ing (18221902), daughter of a farm worker.[2] Edward
was the fourth of their seven children.[n 1] Ann Elgar had
converted to Roman Catholicism shortly before Edwards
birth, and he was baptised and brought up as a Roman
Catholic, to the disapproval of his father.[n 2] William El-
gar was a violinist of professional standard and held the
post of organist of St. Georges Roman Catholic Church,
Worcester, from 1846 to 1885. At his instigation, masses
by Cherubini and Hummel were rst heard at the Three
Choirs Festival by the orchestra in which he played the
violin.[5] All the Elgar children received a musical up-
bringing. By the age of eight, Elgar was taking piano
and violin lessons, and his father, who tuned the pianos at
many grand houses in Worcestershire, would sometimes
take him along, giving him the chance to display his skill
to important local gures.[1]
Elgars mother was interested in the arts and encouraged
his musical development.[2] He inherited from her a dis-
cerning taste for literature and a passionate love of the
countryside.[6] His friend and biographer W. H. Billy
Reed wrote that Elgars early surroundings had an inu-
ence that permeated all his work and gave to his whole
life that subtle but none the less true and sturdy English
quality.[7][n 3] He began composing at an early age; for a
play written and acted by the Elgar children when he was
about ten, he wrote music that forty years later he rear-
ranged with only minor changes and orchestrated as the
suites titled The Wand of Youth.[2]
Until he was fteen, Elgar received a general education at
Elgars parents, William and Ann Elgar
Littleton (now Lyttleton)[n 4] House school, near Worces-
ter. However, his only formal musical training beyond
piano and violin lessons from local teachers consisted of
more advanced violin studies with Adolf Pollitzer, during went not to Leipzig but to the oce of a local solicitor as
brief visits to London in 187778. Elgar said, my rst a clerk. He did not nd an oce career congenial, and for
music was learnt in the Cathedral ... from books bor- fullment he turned not only to music but to literature, be-
rowed from the music library, when I was eight, nine or coming a voracious reader.[n 5] Around this time, he made
ten.[10] He worked through manuals of instruction on or- his rst public appearances as a violinist and organist.[13]
gan playing and read every book he could nd on the the- After a few months, Elgar left the solicitor to embark
ory of music.[5] He later said that he had been most helped on a musical career, giving piano and violin lessons and
by Hubert Parry's articles in the Grove Dictionary of Mu- working occasionally in his fathers shop.[1] He was an
sic and Musicians.[11] Elgar began to learn German, in the active member of the Worcester Glee Club, along with
hope of going to the Leipzig Conservatory for further mu- his father, and he accompanied singers, played the vi-
sical studies, but his father could not aord to send him. olin, composed and arranged works, and conducted for
Years later, a prole in The Musical Times considered that the rst time. Pollitzer believed that, as a violinist, El-
his failure to get to Leipzig was fortunate for Elgars mu- gar had the potential to be one of the leading soloists in
sical development: Thus the budding composer escaped the country,[14] but Elgar himself, having heard leading
the dogmatism of the schools.[5] However, it was a dis- virtuosi at London concerts, felt his own violin playing
appointment to Elgar that on leaving school in 1872 he lacked a full enough tone, and he abandoned his ambi-
1.2 Marriage
tions to be a soloist.[1] At twenty-two he took up the post
of conductor of the attendants band at the Worcester and
County Lunatic Asylum in Powick, three miles (ve km)
from Worcester.[5] The band consisted of: piccolo, ute,
clarinet, two cornets, euphonium, three or four rst and a
similar number of second violins, occasional viola, cello,
double bass and piano.[15] Elgar coached the players and
wrote and arranged their music, including quadrilles and
polkas, for the unusual combination of instruments. The
Musical Times wrote, This practical experience proved
to be of the greatest value to the young musician. ... He
acquired a practical knowledge of the capabilities of these
dierent instruments. ... He thereby got to know inti-
mately the tone colour, the ins and outs of these and many
other instruments.[5] He held the post for ve years, from
1879, travelling to Powick once a week.[1] Another post
he held in his early days was professor of the violin at the
Worcester College for the Blind Sons of Gentlemen.[5]
Although rather solitary and introspective by nature, El-
gar thrived in Worcesters musical circles.[2] He played in
the violins at the Worcester and Birmingham Festivals,
and one great experience was to play Dvok's Symphony
No. 6 and Stabat Mater under the composers baton.[16]
Elgar regularly played the bassoon in a wind quintet,
alongside his brother Frank, an oboist (and conductor
who ran his own wind band).[5] Elgar arranged numerous
pieces by Mozart, Beethoven, Haydn, and others for the
quintet, honing his arranging and compositional skills.[5]
Schumann and Brahms, top, Rubinstein and Wagner, bottom,
whose music inspired Elgar in Leipzig
In his rst trips abroad, Elgar visited Paris in 1880 and
Leipzig in 1882. He heard Saint-Sans play the organ
at the Madeleine and attended concerts by rst-rate or-
chestras. In 1882 he wrote, I got pretty well dosed with
Schumann (my ideal!), Brahms, Rubinstein & Wagner,
so had no cause to complain.[10] In Leipzig he visited a
friend, Helen Weaver, who was a student at the Conserva-
toire. They became engaged in the summer of 1883, but
3
for unknown reasons the engagement was broken o the
next year.[1] Elgar was greatly distressed, and some of his
later cryptic dedications of romantic music may have al-
luded to Helen and his feelings for her.[n 6] Throughout his
life, Elgar was often inspired by close women friends; He-
len Weaver was succeeded by Mary Lygon, Dora Penny,
Julia Worthington, Alice Stuart Wortley and nally Vera
Hockman, who enlivened his old age.[17]
In 1882, seeking more professional orchestral experience,
Elgar was employed to play violin in Birmingham with
William Stockleys Orchestra,[18] for whom he would play
every concert for the next seven years[19] and where he
later claimed he learned all the music I know.[20] On
13 December 1883 he took part with Stockley in a per-
formance at Birmingham Town Hall of one of his rst
works for full orchestra, the Srnade mauresque the
rst time one of his compositions had been performed
by a professional orchestra.[21] Stockley had invited him
to conduct the piece but later recalled he declined, and,
further, insisted upon playing in his place in the orches-
tra. The consequence was that he had to appear, ddle
in hand, to acknowledge the genuine and hearty applause
of the audience.[22] Elgar often went to London in an at-
tempt to get his works published, but this period in his
life found him frequently despondent and low on money.
He wrote to a friend in April 1884, My prospects are
about as hopeless as ever ... I am not wanting in energy
I think, so sometimes I conclude that 'tis want of ability.
... I have no money not a cent.[23]
1.2 Marriage
When Elgar was twenty-nine, he took on a new pupil,
Caroline Alice Roberts, daughter of the late Major-
General Sir Henry Roberts, and a published author of
verse and prose ction. Eight years older than Elgar,
Alice became his wife three years later. Elgars bi-
ographer Michael Kennedy writes, Alices family was
horried by her intention to marry an unknown musi-
cian who worked in a shop and was a Roman Catholic.
She was disinherited.[1] They were married on 8 May
1889, at Brompton Oratory.[16] From then until her death
she acted as his business manager and social secretary,
dealt with his mood swings and was a perceptive musi-
cal critic.[24][25] She did her best to gain him the atten-
tion of inuential society, though with limited success.[26]
In time he would learn to accept the honours given him,
realising that they mattered more to her and her social
class and recognising what she had given up to further
his career.[n 7] In her diary she wrote, The care of a ge-
nius is enough of a life work for any woman.[28] As an
engagement present, Elgar dedicated his short violin and
piano piece Salut d'Amour to her.[n 8] With Alices en-
couragement, the Elgars moved to London to be closer
to the centre of British musical life, and Elgar started de-
voting his time to composition. Their only child, Carice
Irene, was born at their home in West Kensington on 14
4 1 BIOGRAPHY

ber 1890.[2] For lack of other work, he was obliged to

leave London in 1891 and return with his wife and child
to Worcestershire, where he could earn a living conduct-
ing local musical ensembles and teaching. They settled in
Alices former home town, Great Malvern.[2]

1.3 Growing reputation

During the 1890s, Elgar gradually built up a reputation as
a composer, chiey of works for the great choral festivals
of the English Midlands. The Black Knight (1892) and
King Olaf (1896), both inspired by Longfellow, The Light
of Life (1896) and Caractacus (1898) were all modestly
successful, and he obtained a long-standing publisher in
Novello and Co.[33] Other works of this decade included
the Serenade for Strings (1892) and Three Bavarian
Dances (1897). Elgar was of enough consequence locally
to recommend the young composer Samuel Coleridge-
Taylor to the Three Choirs Festival for a concert piece,
which helped establish the younger mans career.[n 10] El-
gar was catching the attention of prominent critics, but
their reviews were polite rather than enthusiastic. Al-
though he was in demand as a festival composer, he was
Edward and Alice Elgar, c. 1891 only just getting by nancially and felt unappreciated.
In 1898, he said he was very sick at heart over music
and hoped to nd a way to succeed with a larger work.
August 1890. Her name, revealed in Elgars dedication of His friend August Jaeger tried to lift his spirits: A days
Salut d'Amour, was a contraction of her mothers names attack of the blues ... will not drive away your desire,
Caroline and Alice. your necessity, which is to exercise those creative facul-
ties which a kind providence has given you. Your time of
Elgar took full advantage of the opportunity to hear un- universal recognition will come.[35]
familiar music. In the days before miniature scores and
recordings were available, it was not easy for young com-
posers to get to know new music.[29] Elgar took every
chance to do so at the Crystal Palace concerts. He
and Alice attended day after day, hearing music by a
wide range of composers. Among these were masters
of orchestration from whom he learned much, such as
Berlioz and Richard Wagner.[2] His own compositions,
however, made little impact on Londons musical scene.
August Manns conducted Elgars orchestral version of
Salut d'amour and the Suite in D at the Crystal Palace, and
two publishers accepted some of Elgars violin pieces,
organ voluntaries, and partsongs.[30] Some tantalising
opportunities seemed to be within reach but vanished
unexpectedly.[30] For example, an oer from the Royal
Opera House, Covent Garden, to run through some of
his works was withdrawn at the last second when Sir August Jaeger, Elgars publisher and friend, and Nimrod of the
Arthur Sullivan arrived unannounced to rehearse some Enigma Variations
of his own music. Sullivan was horried when Elgar later
told him what had happened.[n 9] Elgars only important In 1899, that prediction suddenly came true. At the age of
commission while in London came from his home city: forty-two, Elgar produced the Enigma Variations, which
the Worcester Festival Committee invited him to com- were premiered in London under the baton of the em-
pose a short orchestral work for the 1890 Three Choirs inent German conductor Hans Richter. In Elgars own
Festival.[32] The result is described by Diana McVeagh in words, I have sketched a set of Variations on an original
the Grove Dictionary of Music and Musicians, as his rst theme. The Variations have amused me because I've la-
major work, the assured and uninhibited Froissart. Elgar belled them with the nicknames of my particular friends
conducted the rst performance in Worcester in Septem- ... that is to say I've written the variations each one to
1.4 National and international fame
represent the mood of the 'party' (the person) ... and have
written what I think they would have written if they were
asses enough to compose.[36] He dedicated the work To
my friends pictured within. Probably the best known
variation is Nimrod, depicting Jaeger. Purely musi-
cal considerations led Elgar to omit variations depicting
Arthur Sullivan and Hubert Parry, whose styles he tried
but failed to incorporate in the variations.[37] The large-
scale work was received with general acclaim for its orig-
inality, charm and craftsmanship, and it established Elgar
as the pre-eminent British composer of his generation.[2]
The work is formally titled Variations on an Original
Theme; the word Enigma appears over the rst six bars
of music, which led to the familiar version of the title.
The enigma is that, although there are fourteen varia-
tions on the original theme, there is another overarch-
ing theme, never identied by Elgar, which he said runs
through and over the whole set but is never heard.[n 11]
Later commentators have observed that although Elgar
is today regarded as a characteristically English com-
poser, his orchestral music and this work in particular
share much with the Central European tradition typi-
ed at the time by the work of Richard Strauss.[1][2] The
Enigma Variations were well received in Germany and
Italy,[39] and remain to the present day a worldwide con-
cert staple.[n 12]
1.4 National and international fame
Cardinal Newman, author of the text of The Dream of Gerontius
Elgars biographer Basil Maine commented, When Sir
Arthur Sullivan died in 1900 it became apparent to many
that Elgar, although a composer of another build, was
his true successor as rst musician of the land.[16] El-
gars next major work was eagerly awaited.[40] For the Clara Butt, rst singer of Elgars Land of Hope and Glory
Birmingham Triennial Music Festival of 1900, he set
Cardinal John Henry Newman's poem The Dream of Elgar is probably best known for the rst of the ve Pomp
5
Gerontius for soloists, chorus and orchestra. Richter
conducted the premiere, which was marred by a poorly
prepared chorus, which sang badly.[41] Critics recog-
nised the mastery of the piece despite the defects in
performance.[1] It was performed in Dsseldorf, Ger-
many, in 1901 and again in 1902, conducted by Julius
Buths, who also conducted the European premiere of
the Enigma Variations in 1901. The German press was
enthusiastic. The Cologne Gazette said, In both parts
we meet with beauties of imperishable value. ... Elgar
stands on the shoulders of Berlioz, Wagner, and Liszt,
from whose inuences he has freed himself until he has
become an important individuality. He is one of the
leaders of musical art of modern times. The Dsseldor-
fer Volksblatt wrote, A memorable and epoch-making
rst performance! Since the days of Liszt nothing has
been produced in the way of oratorio ... which reaches
the greatness and importance of this sacred cantata.[42]
Richard Strauss, then widely viewed as the leading com-
poser of his day,[43] was so impressed that in Elgars pres-
ence he proposed a toast to the success of the rst En-
glish progressive musician, Meister Elgar.[43][n 13] Per-
formances in Vienna, Paris and New York followed,[2][45]
and The Dream of Gerontius soon became equally ad-
mired in Britain. According to Kennedy, It is unques-
tionably the greatest British work in the oratorio form ...
[it] opened a new chapter in the English choral tradition
and liberated it from its Handelian preoccupation.[1] El-
gar, as a Roman Catholic, was much moved by Newmans
poem about the death and redemption of a sinner, but
some inuential members of the Anglican establishment
disagreed. His colleague, Charles Villiers Stanford com-
plained that the work stinks of incense.[46] The Dean of
Gloucester banned Gerontius from his cathedral in 1901,
and at Worcester the following year, the Dean insisted on
expurgations before allowing a performance.[47]
6 1 BIOGRAPHY
and Circumstance Marches, which were composed be-
tween 1901 and 1930.[48] It is familiar to millions of tele-
vision viewers all over the world every year who watch
the Last Night of the Proms,[49] where it is traditionally
performed. When the theme of the slower middle sec-
tion (technically called the "trio") of the rst march came
into his head, he told his friend Dora Penny, I've got a
tune that will knock 'em will knock 'em at.[50] When
the rst march was played in 1901 at a London Prome-
nade Concert, it was conducted by Henry J. Wood, who
later wrote that the audience rose and yelled ... the one
and only time in the history of the Promenade concerts
that an orchestral item was accorded a double encore.[51]
To mark the coronation of Edward VII, Elgar was com-
missioned to set A. C. Benson's Coronation Ode for a
gala concert at the Royal Opera House in June 1901.
The approval of the king was conrmed, and Elgar be-
gan work. The contralto Clara Butt had persuaded him
that the trio of the rst Pomp and Circumstance march
could have words tted to it, and Elgar invited Benson to
do so. Elgar incorporated the new vocal version into the
Ode. The publishers of the score recognised the poten-
tial of the vocal piece, Land of Hope and Glory, and
asked Benson and Elgar to make a further revision for
publication as a separate song.[52] It was immensely pop-
ular and is now considered an unocial British national
anthem.[1] In the United States, the trio, known simply as
Pomp and Circumstance or The Graduation March, place. An Englishman will take you into a large room,
has been adopted since 1905 for virtually all high school
and university graduations.[53][54]
In March 1904 a three-day festival of Elgars works was
presented at Covent Garden, an honour never before
given to any English composer. The Times commented,
Four or ve years ago if any one had predicted that
the Opera-house would be full from oor to ceiling for
the performance of an oratorio by an English composer
he would probably have been supposed to be out of his
mind.[55] The king and queen attended the rst concert,
at which Richter conducted The Dream of Gerontius,[55]
and returned the next evening for the second, the Lon-
don premiere of The Apostles (rst heard the previous
year at the Birmingham Festival).[56] The nal concert of
the festival, conducted by Elgar, was primarily orches-
tral, apart for an excerpt from Caractacus and the com-
plete Sea Pictures (sung by Clara Butt). The orchestral
items were Froissart, the Enigma Variations, Cockaigne,
the rst two (at that time the only two) Pomp and Cir-
cumstance marches, and the premiere of a new orches-
tral work, In the South (Alassio), inspired by a holiday in
Italy.[57]
Elgar was knighted at Buckingham Palace on 5 July
1904.[58] The following month, he and his family moved
to Pls Gwyn,[59] a large house on the outskirts of
Hereford, overlooking the River Wye, where they lived
until 1911.[1] Between 1902 and 1914, Elgar was, in
Kennedys words, at the zenith of popularity.[1] He made
four visits to the U.S., including one conducting tour, and
University of Birmingham as it was when Elgar was Peyton Pro-
fessor of Music
earned considerable fees from the performance of his mu-
sic. Between 1905 and 1908, he held the post of Peyton
Professor of Music at the University of Birmingham.[2]
He had accepted the post reluctantly, feeling that a com-
poser should not head a school of music.[60] He was not at
ease in the role,[61] and his lectures caused controversy,
with his attacks on the critics[62][n 14] and on English mu-
sic in general: Vulgarity in the course of time may be re-
ned. Vulgarity often goes with inventiveness ... but the
commonplace mind can never be anything but common-
beautifully proportioned, and will point out to you that it
is white all over white and somebody will say, 'What
exquisite taste'. You know in your own mind, in your own
soul, that it is not taste at all, that it is the want of taste,
that is mere evasion. English music is white, and evades
everything. He regretted the controversy and was glad
to hand on the post to his friend Granville Bantock in
1908.[65] His new life as a celebrity was a mixed blessing
to the highly strung Elgar, as it interrupted his privacy,
and he often was in ill-health. He complained to Jaeger
in 1903, My life is one continual giving up of little things
which I love.[66] Both W. S. Gilbert and Thomas Hardy
sought to collaborate with Elgar in this decade. Elgar re-
fused, but would have collaborated with George Bernard
Shaw had Shaw been willing.[67]
Elgars principal composition in 1905 was the
Introduction and Allegro for Strings, dedicated to
Samuel Sanford, professor at Yale University. Elgar
visited America in that year to conduct his music and to
accept a doctorate from Yale.[2][n 15] His next large-scale
work was the sequel to The Apostles the oratorio The
Kingdom (1906). It was well received but did not catch
the public imagination as The Dream of Gerontius had
done and continued to do. Among keen Elgarians,
however, The Kingdom was sometimes preferred to the
earlier work: Elgars friend Frank Schuster told the young
Adrian Boult: compared with The Kingdom, Gerontius
is the work of a raw amateur.[68] As Elgar approached
his ftieth birthday, he began work on his rst symphony,
a project that had been in his mind in various forms for
1.5 Last major works
nearly ten years.[69] His First Symphony (1908) was a
national and international triumph. Within weeks of the
premiere it was performed in New York under Walter
Damrosch, Vienna under Ferdinand Lwe, St. Peters-
burg under Alexander Siloti, and Leipzig under Arthur
Nikisch. There were performances in Rome, Chicago,
Boston, Toronto and fteen British towns and cities. In
just over a year, it received a hundred performances in
Britain, America and continental Europe.[70]
Fritz Kreisler, dedicatee of Elgars Violin Concerto
The Violin Concerto (1910) was commissioned by Fritz
Kreisler, one of the leading international violinists of the
time. Elgar wrote it during the summer of 1910, with oc-
casional help from W. H. Reed, the leader of the London
Symphony Orchestra, who helped the composer with ad-
vice on technical points. Elgar and Reed formed a rm
friendship, which lasted for the rest of Elgars life. Reeds
biography, Elgar As I Knew Him (1936), records many
details of Elgars methods of composition.[71] The work
was presented by the Royal Philharmonic Society, with
Kreisler and the London Symphony Orchestra, conducted
by the composer. Reed recalled, the Concerto proved
to be a complete triumph, the concert a brilliant and un-
forgettable occasion.[72] So great was the impact of the
concerto that Kreislers rival Eugne Ysae spent much
time with Elgar going through the work. There was great
disappointment when contractual diculties prevented
Ysae from playing it in London.[72]
The Violin Concerto was Elgars last popular triumph.
The following year he presented his Second Symphony in
London, but was disappointed at its reception. Unlike the
First Symphony, it ends not in a blaze of orchestral splen-
dour but quietly and contemplatively. Reed, who played
at the premiere, later wrote that Elgar was recalled to the
platform several times to acknowledge the applause, but
missed that unmistakable note perceived when an audi-
ence, even an English audience, is thoroughly roused or When World War I broke out, Elgar was horried at the
worked up, as it was after the Violin Concerto or the prospect of the carnage, but his patriotic feelings were
7
First Symphony.[73] Elgar asked Reed, What is the mat-
ter with them, Billy? They sit there like a lot of stued
pigs.[73] The work was, by normal standards, a success,
with twenty-seven performances within three years of its
premiere, but it did not achieve the international furore
of the First Symphony.[74]
1.5 Last major works
Elgar aged about 60
In June 1911, as part of the celebrations surrounding the
coronation of King George V, Elgar was appointed to the
Order of Merit,[75] an honour limited to twenty-four hold-
ers at any time. The following year, the Elgars moved
back to London, to a large house in Netherhall Gardens,
Hampstead, designed by Norman Shaw. There Elgar
composed his last two large-scale works of the pre-war
era, the choral ode, The Music Makers (for the Birming-
ham Festival, 1912) and the symphonic study Falsta (for
the Leeds Festival, 1913). Both were received politely
but without enthusiasm. Even the dedicatee of Falsta,
the conductor Landon Ronald, confessed privately that
he could not make head or tail of the piece,[76] while
the musical scholar Percy Scholes wrote of Falsta that
it was a great work but, so far as public appreciation
goes, a comparative failure.[77]
8 1 BIOGRAPHY
nonetheless aroused.[78] He composed A Song for Sol-
diers, which he later withdrew. He signed up as a special
constable in the local police and later joined the Hamp-
stead Volunteer Reserve of the army.[79] He composed
patriotic works, Carillon, a recitation for speaker and or-
chestra in honour of Belgium,[80] and Polonia, an orches-
tral piece in honour of Poland.[81] Land of Hope and
Glory, already popular, became still more so, and Elgar
wished in vain to have new, less nationalistic, words sung
to the tune.[2]
Laurence Binyon (top) and Rudyard Kipling, whose verses Elgar
set during World War I
Elgars other compositions during the war included
incidental music for a childrens play, The Starlight Ex-
press (1915); a ballet, The Sanguine Fan (1917); and
The Spirit of England (191517, to poems by Laurence
Binyon), three choral settings very dierent in charac-
ter from the romantic patriotism of his earlier years.[2]
His last large-scale composition of the war years was The
Fringes of the Fleet, settings of verses by Rudyard Kipling,
performed with great popular success around the country,
until Kipling for unexplained reasons objected to their
performance in theatres.[82] Elgar conducted a recording
of the work for the Gramophone Company.[83]
Towards the end of the war, Elgar was in poor health. His
wife thought it best for him to move to the countryside,
and she rented 'Brinkwells, a house near Fittleworth in
Sussex, from the painter Rex Vicat Cole. There Elgar
recovered his strength and, in 1918 and 1919, he pro-
duced four large-scale works. The rst three of these
were chamber pieces: the Violin Sonata in E minor, the
Piano Quintet in A minor, and the String Quartet in E mi-
nor. On hearing the work in progress, Alice Elgar wrote
in her diary, E. writing wonderful new music.[84] All
three works were well received. The Times wrote, El-
gars sonata contains much that we have heard before in
other forms, but as we do not at all want him to change and
be somebody else, that is as it should be.[85] The quartet
and quintet were premiered at the Wigmore Hall on 21
May 1919. The Manchester Guardian wrote, This quar-
tet, with its tremendous climaxes, curious renements of
dance-rhythms, and its perfect symmetry, and the quin-
tet, more lyrical and passionate, are as perfect examples
of chamber music as the great oratorios were of their
type.[86]
By contrast, the remaining work, the Cello Concerto in E
minor, had a disastrous premiere, at the opening concert
of the London Symphony Orchestras 191920 season in
October 1919. Apart from the Elgar work, which the
composer conducted, the rest of the programme was con-
ducted by Albert Coates, who overran his rehearsal time
at the expense of Elgars. Lady Elgar wrote, that brutal
selsh ill-mannered bounder ... that brute Coates went on
rehearsing.[87] The critic of The Observer, Ernest New-
man, wrote, There have been rumours about during the
week of inadequate rehearsal. Whatever the explanation,
the sad fact remains that never, in all probability, has so
great an orchestra made so lamentable an exhibition of it-
self. ... The work itself is lovely stu, very simple that
pregnant simplicity that has come upon Elgars music in
the last couple of years but with a profound wisdom and
beauty underlying its simplicity.[88] Elgar attached no
blame to his soloist, Felix Salmond, who played for him
again later.[89] In contrast with the First Symphony and
its hundred performances in just over a year, the Cello
Concerto did not have a second performance in London
for more than a year.[90]
1.6 Last years
Although in the 1920s Elgars music was no longer in
fashion,[1] his admirers continued to present his works
when possible. Reed singles out a performance of the
Second Symphony in March 1920 conducted by a young
man almost unknown to the public, Adrian Boult, for
bringing the grandeur and nobility of the work to a
wider public. Also in 1920, Landon Ronald presented
1.6 Last years
Elgar in 1919, by William Rothenstein
an all-Elgar concert at the Queens Hall.[91] Alice Elgar
wrote with enthusiasm about the reception of the sym-
phony, but this was one of the last times she heard Elgars
music played in public.[92] After a short illness, she died
of lung cancer on 7 April 1920, at the age of seventy-
two.[93]
Elgar was devastated by the loss of his wife.[89] With
no public demand for new works, and deprived of Al-
ices constant support and inspiration, he allowed him-
self to be deected from composition. His daughter later
wrote that Elgar inherited from his father a reluctance
to settle down to work on hand but could cheerfully
spend hours over some perfectly unnecessary and en-
tirely unremunerative undertaking, a trait that became
stronger after Alices death.[94] For much of the rest of
his life, Elgar indulged himself in his several hobbies.[1]
Throughout his life he was a keen amateur chemist,
sometimes using a laboratory in his back garden.[95] He
even patented the Elgar Sulphuretted Hydrogen Appa-
ratus in 1908.[96][97][98] He enjoyed football, support-
ing Wolverhampton Wanderers F.C., for whom he com-
posed an anthem, He Banged the Leather for Goal,[99]
and in his later years he frequently attended horseraces.
His protgs, the conductor Malcolm Sargent and vio-
linist Yehudi Menuhin, both recalled rehearsals with El-
gar at which he swiftly satised himself that all was well
and then went o to the races.[100][101] In his younger
days, Elgar had been an enthusiastic cyclist, buying Royal
Sunbeam bicycles for himself and his wife in 1903 (he
named his Mr. Phoebus").[102] As an elderly widower,
he enjoyed being driven about the countryside by his
chaueur.[1] In November and December 1923, he took a
9
voyage to Brazil, journeying up the Amazon to Manaus,
where he was impressed by its opera house, the Teatro
Amazonas. Almost nothing is recorded about Elgars ac-
tivities or the events that he encountered during the trip,
which gave the novelist James Hamilton-Paterson consid-
erable latitude when writing Gerontius, a ctional account
of the journey.[103]
After Alices death, Elgar sold the Hampstead house,
and after living for a short time in a at in St Jamess
in the heart of London, he moved back to Worcester-
shire, to the village of Kempsey, where he lived from
1923 to 1927.[104] He did not wholly abandon compo-
sition in these years. He made large-scale symphonic ar-
rangements of works by Bach and Handel and wrote his
Empire March and eight songs Pageant of Empire for the
1924 British Empire Exhibition.[105] Shortly after these
were published, he was appointed Master of the Kings
Musick on 13 May 1924, following the death of Sir Wal-
ter Parratt.[106]
From 1926 onwards, Elgar made a series of recordings
of his own works. Described by the music writer Robert
Philip as the rst composer to take the gramophone
seriously,[107] he had already recorded much of his mu-
sic by the early acoustic-recording process for His Mas-
ters Voice (HMV) from 1914 onwards, but the introduc-
tion of electrical microphones in 1925 transformed the
gramophone from a novelty into a realistic medium for
reproducing orchestral and choral music.[107] Elgar was
the rst composer to take full advantage of this technolog-
ical advance.[107] Fred Gaisberg of HMV, who produced
Elgars recordings, set up a series of sessions to capture
on disc the composers interpretations of his major or-
chestral works, including the Enigma Variations, Falsta,
the rst and second symphonies, and the cello and violin
concertos. For most of these, the orchestra was the LSO,
but the Variations were played by the Royal Albert Hall
Orchestra. Later in the series of recordings, Elgar also
conducted two newly founded orchestras, Boults BBC
Symphony Orchestra and Sir Thomas Beecham's London
Philharmonic Orchestra.
Elgars recordings were released on 78-rpm discs by
both HMV and RCA Victor. After World War II, the
1932 recording of the Violin Concerto with the teenage
Menuhin as soloist remained available on 78 and later on
LP, but the other recordings were out of the catalogues
for some years. When they were reissued by EMI on
LP in the 1970s, they caused surprise to many by their
fast tempi, in contrast to the slower speeds adopted by
many conductors in the years since Elgars death.[107] The
recordings were reissued on CD in the 1990s.[108]
In November 1931, Elgar was lmed by Path for a news-
reel depicting a recording session of Pomp and Circum-
stance March No. 1 at the opening of EMIs Abbey Road
Studios in London. It is believed to be the only surviving
sound lm of Elgar, who makes a brief remark before
conducting the London Symphony Orchestra, asking the
10 2 MUSIC

musicians to play this tune as though you've never heard 2 Music

it before.[109] A memorial plaque to Elgar at Abbey Road
was unveiled on 24 June 1993.[110]
2.1 Inuences, antecedents and early
A late piece of Elgars, the Nursery Suite, was an early works
example of a studio premiere: its rst performance was
in the Abbey Road studios. For this work, dedicated to Elgar was contemptuous of folk music[119] and had lit-
the wife and daughters of the Duke of York, Elgar once tle interest in or respect for the early English composers,
again drew on his youthful sketch-books.[2][n 16] calling William Byrd and his contemporaries museum
pieces. Of later English composers, he regarded Purcell
as the greatest, and he said that he had learned much of his
own technique from studying Hubert Parrys writings.[120]
The continental composers who most inuenced Elgar
were Handel, Dvok and, to some degree, Brahms. In
Elgars chromaticism, the inuence of Wagner is appar-
ent, but Elgars individual style of orchestration owes
much to the clarity of nineteenth-century French com-
posers, Berlioz, Massenet, Saint-Sans and, particularly,
Delibes, whose music Elgar played and conducted at
Worcester and greatly admired.[119][121]
Elgar began composing when still a child, and all his life
he drew on his early sketchbooks for themes and inspi-
ration. The habit of assembling his compositions, even
large-scale ones, from scraps of themes jotted down ran-
domly remained throughout his life.[122] His early adult
works included violin and piano pieces, music for the
wind quintet in which he and his brother played between
Elgar family grave at St Wulstans R.C. Church, Little Malvern 187881, and music of many types for the Powick Asy-
lum band. Diana McVeagh in Groves Dictionary nds
In his nal years, Elgar experienced a musical revival. many embryonic Elgarian touches in these pieces, but few
The BBC organised a festival of his works to celebrate of them are regularly played, except Salut d'Amour and
his seventy-fth birthday, in 1932.[111] He ew to Paris (as arranged decades later into The Wand of Youth Suites)
in 1933 to conduct the Violin Concerto for Menuhin. some of the childhood sketches.[2] Elgars sole work of
While in France, he visited his fellow composer Frederick note during his rst spell in London in 188991, the over-
Delius at his house at Grez-sur-Loing.[16] He was sought ture Froissart, was a romantic-bravura piece, inuenced
out by younger musicians such as Adrian Boult, Malcolm by Mendelssohn and Wagner, but also showing further El-
Sargent and John Barbirolli, who championed his music garian characteristics.[2] Orchestral works composed dur-
when it was out of fashion.[112][113] He began work on ing the subsequent years in Worcestershire include the
an opera, The Spanish Lady, and accepted a commission Serenade for Strings and Three Bavarian Dances. In this
from the BBC to compose a Third Symphony. His nal period and later, Elgar wrote songs and partsongs. W.
illness, however, prevented their completion. He fretted H. Reed expressed reservations about these pieces, but
about the unnished works. He asked Reed to ensure that praised the partsong The Snow, for female voices, and Sea
nobody would tinker with the sketches and attempt a Pictures, a cycle of ve songs for contralto and orchestra
completion of the symphony,[114] but at other times he which remains in the repertory.[123]
said, If I can't complete the Third Symphony, some- Elgars principal large-scale early works were for chorus
body will complete it or write a better one.[115] Af- and orchestra for the Three Choirs and other festivals.
ter Elgars death, Percy M. Young, in cooperation with These were The Black Knight, King Olaf, The Light of
the BBC and Elgars daughter Carice, produced a version Life, The Banner of St George and Caractacus. He also
of The Spanish Lady,[116] which was issued on CD. The wrote a Te Deum and Benedictus for the Hereford Fes-
Third Symphony sketches were elaborated by the com- tival. Of these, McVeagh comments favourably on his
poser Anthony Payne into a complete score in 1998.[115] lavish orchestration and innovative use of leitmotifs, but
Inoperable colorectal cancer was discovered during an less favourably on the qualities of his chosen texts and the
operation on 8 October 1933. He told his consulting doc- patchiness of his inspiration. McVeagh makes the point
tor, Arthur Thomson, that he had no faith in an afterlife: that, because these works of the 1890s were for many
I believe there is nothing but complete oblivion.[117] El- years little known (and performances remain rare), the
gar died on 23 February 1934 at the age of seventy-six mastery of his rst great success, the Enigma Variations,
and was buried next to his wife at St. Wulstans Roman appeared to be a sudden transformation from mediocrity
Catholic Church in Little Malvern.[118] to genius, but in fact his orchestral skills had been build-
2.2 Peak creative years
ing up throughout the decade.[2]
2.2 Peak creative years
Elgar and the London Symphony Orchestra at the Queens Hall
Elgars best-known works were composed within the
twenty-one years between 1899 and 1920. Most of them
are orchestral. Reed wrote, Elgars genius rose to its
greatest height in his orchestral works and quoted the
composer as saying that, even in his oratorios, the orches-
tral part is the most important.[124] The Enigma Variations
made Elgars name nationally. The variation form was
ideal for him at this stage of his career, when his compre-
hensive mastery of orchestration was still in contrast to his
tendency to write his melodies in short, sometimes rigid,
phrases.[2] His next orchestral works, Cockaigne (In Lon-
don Town), a concert-overture (19001901), the rst two
Pomp and Circumstance marches (1901), and the gentle
Dream Children (1902), are all short: the longest of them,
Cockaigne, lasting less than fteen minutes. In the South
(Alassio) (19031904), although designated by Elgar as a
concert-overture, is, according to Kennedy, really a tone
poem and the longest continuous piece of purely orches-
tral writing Elgar had essayed. He wrote it after setting
aside an early attempt to compose a symphony.[125] The
work reveals his continuing progress in writing sustained
themes and orchestral lines, although some critics, includ-
ing Kennedy, nd that in the middle part Elgars inspi-
ration burns at less than its brightest.[126] In 1905 Elgar
completed the Introduction and Allegro for Strings. This
work is based, unlike much of Elgars earlier writing, not
on a profusion of themes but on only three. Kennedy
called it a masterly composition, equalled among English
works for strings only by Vaughan Williams's Tallis Fan-
tasia.[127] Nevertheless, at less than a quarter of an hour,
it was not by contemporary standards a lengthy composi-
tion. Gustav Mahler's Seventh Symphony, composed at
the same time, runs for well over an hour.[n 17]
During the next four years, however, Elgar composed
three major concert pieces, which, though shorter than
comparable works by some of his European contem-
poraries, are among the most substantial such works
by an English composer. These were his First Sym- The major works for voices and orchestra of the twenty-
phony, Violin Concerto, and Second Symphony, which one years of Elgars middle period are three large-scale
11
all play for between forty-ve minutes and an hour.[n 18]
McVeagh says of the symphonies that they rank high not
only in Elgars output but in English musical history. Both
are long and powerful, without published programmes,
only hints and quotations to indicate some inward drama
from which they derive their vitality and eloquence. Both
are based on classical form but dier from it to the ex-
tent that ... they were considered prolix and slackly con-
structed by some critics. Certainly the invention in them
is copious; each symphony would need several dozen mu-
sic examples to chart its progress.[2]
Fragment of manuscript of the opening of the second movement
of the Cello Concerto
Elgars Violin Concerto and Cello Concerto, in the view
of Kennedy, rank not only among his nest works, but
among the greatest of their kind.[129] They are, how-
ever, very dierent from each other. The Violin Con-
certo, composed in 1909 as Elgar reached the height
of his popularity, and written for the instrument dear-
est to his heart,[123] is lyrical throughout and rhapsodical
and brilliant by turns.[130] The Cello Concerto, composed
a decade later, immediately after World War I, seems,
in Kennedys words, to belong to another age, another
world ... the simplest of all Elgars major works ... also
the least grandiloquent.[131] Between the two concertos
came Elgars symphonic study Falsta, which has divided
opinion even among Elgars strongest admirers. Donald
Tovey viewed it as one of the immeasurably great things
in music, with power identical with Shakespeares,[132]
while Kennedy criticises the work for too frequent re-
liance on sequences" and an over-idealised depiction of
the female characters.[133] Reed thought that the princi-
pal themes show less distinction than some of Elgars ear-
lier works.[134] Elgar himself thought Falsta the highest
point of his purely orchestral work.[135]
12
works for soloists, chorus and orchestra: The Dream of
Gerontius (1900), and the oratorios The Apostles (1903)
and The Kingdom (1906); and two shorter odes, the
Coronation Ode (1902) and The Music Makers (1912).
The rst of the odes, as a pice d'occasion, has rarely
been revived after its initial success, with the culminat-
ing Land of Hope and Glory. The second is, for El-
gar, unusual in that it contains several quotations from his
earlier works, as Richard Strauss quoted himself in Ein
Heldenleben.[136] The choral works were all successful,
although the rst, Gerontius, was and remains the best-
loved and most performed.[137] On the manuscript Elgar
wrote, quoting John Ruskin, This is the best of me; for
the rest, I ate, and drank, and slept, loved and hated, like
another. My life was as the vapour, and is not; but this
I saw, and knew; this, if anything of mine, is worth your
memory.[2] All three of the large-scale works follow the
traditional model with sections for soloists, chorus and
both together. Elgars distinctive orchestration, as well as
his melodic inspiration, lifts them to a higher level than
most of their British predecessors.[138]
Elgars other works of his middle period include inci-
dental music for Grania and Diarmid, a play by George
Moore and W. B. Yeats (1901), and for The Starlight
Express, a play based on a story by Algernon Black-
wood (1916). Of the former, Yeats called Elgars mu-
sic wonderful in its heroic melancholy.[139] Elgar also
wrote a number of songs during his peak period, of which
Reed observes, it cannot be said that he enriched the
vocal repertory to the same extent as he did that of the
orchestra.[123]
2.3 Final years and posthumous comple- In 1924, the music scholar Edward J. Dent wrote an arti-
tions cle for a German music journal in which he identied four
After the Cello Concerto, Elgar completed no more
large-scale works. He made arrangements of works
by Bach, Handel and Chopin, in distinctively Elgarian
orchestration,[2] and once again turned his youthful note-
books to use for the Nursery Suite (1931). His other com-
positions of this period have not held a place in the regu-
lar repertory.[1] For most of the rest of the twentieth cen-
tury, it was generally agreed that Elgars creative impulse
ceased after his wifes death. Anthony Paynes elabora-
tion of the sketches for Elgars Third Symphony led to a
reconsideration of this supposition. Elgar left the opening
of the symphony complete in full score, and those pages,
along with others, show Elgars orchestration changed
markedly from the richness of his pre-war work. The
Gramophone described the opening of the new work as
something thrilling ... unforgettably gaunt.[140] Payne
also subsequently produced a performing version of the
sketches for a sixth Pomp and Circumstance March, pre-
miered at the Proms in August 2006.[141] Elgars sketches
for a piano concerto dating from 1913 were elaborated
by the composer Robert Walker and rst performed in
August 1997 by the pianist David Owen Norris. The re-
2 MUSIC
alisation has since been extensively revised.[142]
2.4 Reputation
Views of Elgars stature have varied in the decades since
his music came to prominence at the beginning of the
twentieth century. Richard Strauss, as noted, hailed El-
gar as a progressive composer; even the hostile reviewer
in The Observer, unimpressed by the thematic material
of the First Symphony in 1908, called the orchestration
magnicently modern.[143] Hans Richter rated Elgar
as the greatest modern composer in any country, and
Richters colleague Arthur Nikisch considered the First
Symphony a masterpiece of the rst order to be justly
ranked with the great symphonic models Beethoven
and Brahms.[44] By contrast, the critic W. J. Turner,
in the mid-twentieth century, wrote of Elgars "Salvation
Army symphonies,[121] and Herbert von Karajan called
the Enigma Variations second-hand Brahms.[144] El-
gars immense popularity was not long-lived. After the
success of his First Symphony and Violin Concerto, his
Second Symphony and Cello Concerto were politely re-
ceived but without the earlier wild enthusiasm. His music
was identied in the public mind with the Edwardian era,
and after the First World War he no longer seemed a pro-
gressive or modern composer. In the early 1920s, even
the First Symphony had only one London performance
in more than three years.[1] Henry Wood and younger
conductors such as Boult, Sargent and Barbirolli cham-
pioned Elgars music, but in the recording catalogues and
the concert programmes of the middle of the century his
works were not well represented.[2][145]
features of Elgars style that gave oence to a section of
English opinion (namely, Dent indicated, the academic
and snobbish section): too emotional, not quite free
from vulgarity, pompous, and too deliberately noble
in expression.[146] This article was reprinted in 1930 and
caused controversy.[147] In the later years of the century
there was, in Britain at least, a revival of interest in Elgars
music. The features that had oended austere taste in the
inter-war years were seen from a dierent perspective.
In 1955, the reference book The Record Guide wrote of
the Edwardian background during the height of Elgars
career:
Boastful self-condence, emotional vulgar-
ity, material extravagance, a ruthless philistin-
ism expressed in tasteless architecture and ev-
ery kind of expensive yet hideous accessory:
such features of a late phase of Imperial Eng-
land are faithfully reected in Elgars larger
works and are apt to prove indigestible today.
But if it is dicult to overlook the bombas-
tic, the sentimental, and the trivial elements
in his music, the eort to do so should nev-
2.4 Reputation 13

ertheless be made, for the sake of the many asked Cox, could Elgar be the most English of com-
inspired pages, the power and eloquence and posers"? Cox found the answer in Elgars own personal-
lofty pathos, of Elgars best work. ... Anyone ity, which could use the alien idioms in such a way as to
who doubts the fact of Elgars genius should make of them a vital form of expression that was his and
take the rst opportunity of hearing The Dream his alone. And the personality that comes through in the
of Gerontius, which remains his masterpiece, music is English.[121] This point about Elgars transmut-
as it is his largest and perhaps most deeply felt ing his inuences had been touched on before. In 1930
work; the symphonic study, Falsta; the In- The Times wrote, When Elgars rst symphony came
troduction and Allegro for Strings; the Enigma out, someone attempted to prove that its main tune on
Variations; and the Violoncello Concerto.[145] which all depends was like the Grail theme in Parsifal. ...
but the attempt fell at because everyone else, including
By the 1960s, a less severe view was being taken of the those who disliked the tune, had instantly recognized it as
Edwardian era. In 1966 the critic Frank Howes wrote that typically 'Elgarian', while the Grail theme is as typically
Elgar reected the last blaze of opulence, expansiveness Wagnerian.[148] As for Elgars Englishness, his fellow-
and full-blooded life, before World War I swept so much composers recognised it: Richard Strauss and Stravinsky
away. In Howess view, there was a touch of vulgarity in made particular reference to it,[44] and Sibelius called
both the era and Elgars music, but a composer is entitled him, the personication of the true English character in
to be judged by posterity for his best work. ... Elgar is music ... a noble personality and a born aristocrat.[44]
historically important for giving to English music a sense Among Elgars admirers there is disagreement about
of the orchestra, for expressing what it felt like to be alive which of his works are to be regarded as masterpieces.
in the Edwardian age, for conferring on the world at least The Enigma Variations are generally counted among
four unqualied masterpieces, and for thereby restoring them.[149] The Dream of Gerontius has also been given
England to the comity of musical nations.[146] high praise by Elgarians,[150] and the Cello Concerto
is similarly rated.[150] Many rate the Violin Concerto
equally highly, but some do not. Sackville-West omit-
ted it from the list of Elgar masterpieces in The Record
Guide,[151] and in a long analytical article in The Musi-
cal Quarterly, Daniel Gregory Mason criticised the rst
movement of the concerto for a kind of sing-songiness
... as fatal to noble rhythm in music as it is in poetry.[74]
Falsta also divides opinion. It has never been a great
popular favourite,[152] and Kennedy and Reed identify
shortcomings in it.[153] In a Musical Times 1957 cente-
nary symposium on Elgar led by Vaughan Williams, by
contrast, several contributors share Eric Blom's view that
Falsta is the greatest of all Elgars works.[154]
The two symphonies divide opinion even more sharply.
Mason rates the Second poorly for its over-obvious
rhythmic scheme, but calls the First Elgars master-
piece. ... It is hard to see how any candid student can deny
the greatness of this symphony.[74] However, in the 1957
centenary symposium, several leading admirers of Elgar
express reservations about one or both symphonies.[154]
In the same year, Roger Fiske wrote in The Gramophone,
For some reason few people seem to like the two El-
gar symphonies equally; each has its champions and often
they are more than a little bored by the rival work.[155]
The critic John Warrack wrote, There are no sadder
Composers who admired Elgar included (top) Sibelius (l) pages in symphonic literature than the close of the First
and Richard Strauss and (below) Vaughan Williams (l) and Symphonys Adagio, as horn and trombones twice softly
Stravinsky intone a phrase of utter grief,[156] whereas to Michael
Kennedy, the movement is notable for its lack of an-
In 1967 the critic and analyst David Cox considered the guished yearning and angst and is marked instead by a
question of the supposed Englishness of Elgars music. benevolent tranquillity.[157]
Cox noted that Elgar disliked folk-songs and never used
them in his works, opting for an idiom that was essentially Despite the uctuating critical assessment of the vari-
German, leavened by a lightness derived from French ous works over the years, Elgars major works taken as a
composers including Berlioz and Gounod. How then, whole have in the twenty-rst century recovered strongly
14
from their neglect in the 1950s. The Record Guide in
1955 could list only one currently available recording of
the First Symphony, none of the Second, one of the Vi-
olin Concerto, two of the Cello Concerto, two of the
Enigma Variations, one of Falsta, and none of The
Dream of Gerontius. Since then there have been multi-
ple recordings of all the major works. More than thirty
recordings have been made of the First Symphony since
1955, for example, and more than a dozen of The Dream
of Gerontius.[158] Similarly, in the concert hall, Elgars
works, after a period of neglect, are once again frequently
programmed. The Elgar Society's website, in its diary of
forthcoming performances, lists performances of Elgars
works by orchestras, soloists and conductors across Eu-
rope, North America and Australia.[159]
3 Honours, awards and commemo-
rations
Insignia of Baronet
Elgar was knighted in 1904, and in 1911 he was ap-
pointed a member of the Order of Merit. In 1920
he received the Cross of Commander of the Belgian
Order of the Crown; in 1924 he was made Master of
the Kings Musick; the following year he received the
Gold Medal of the Royal Philharmonic Society; and
in 1928 he was appointed a Knight Commander of
the Royal Victorian Order (KCVO). Between 1900 and
3 HONOURS, AWARDS AND COMMEMORATIONS
1931, Elgar received honorary degrees from the Uni-
versities of Cambridge, Durham, Leeds, Oxford, Yale
(USA), Aberdeen, Western Pennsylvania (USA), Birm-
ingham and London. Foreign academies of which he was
made a member were Regia Accademia di Santa Cecilia,
Rome; Accademia del Reale Istituto Musicale, Florence;
Acadmie des Beaux Arts, Paris; Institut de France;
and the American Academy. In 1931 he was created a
Baronet, of Broadheath in the County of Worcester.[160]
In 1933 he was promoted within the Royal Victorian Or-
der to Knight Grand Cross (GCVO).[161] In Kennedys
words, he shamelessly touted for a peerage, but in
vain.[1] In Whos Who, post World War I, he claimed to
have been awarded several Imperial Russian and Ger-
man decorations (lapsed)".[162]
A statue of Edward Elgar at the end of Worcester High Street in
Worcester, United Kingdom
The house in Lower Broadheath where Elgar was born
is now the Elgar Birthplace Museum, devoted to his life
and work. Elgars daughter, Carice, helped to found the
museum in 1936 and bequeathed to it much of her col-
lection of Elgars letters and documents on her death in
1970. Carice left Elgar manuscripts to musical colleges:
The Black Knight to Trinity College of Music; King Olaf
to the Royal Academy of Music; The Music Makers to
Birmingham University; the Cello Concerto to the Royal
College of Music; The Kingdom to the Bodleian Library;
and other manuscripts to the British Museum.[163] The
 15

Elgar Society dedicated to the composer and his works bella in the Enigma Variations), and covers the fteen
was formed in 1951. The University of Birminghams years from their rst meeting in the mid-1890s to the
Special Collections contain an archive of letters written genesis of the Violin Concerto when, in the novel, Dora
by Elgar.[164] has been supplanted in Elgars aections by Alice Stuart-
[176]
Elgars statue at the end of Worcester High Street stands Wortley.
facing the cathedral, only yards from where his fathers Perhaps the best-known work depicting Elgar is Ken Rus-
shop once stood. Another statue of the composer by Rose sell's 1962 BBC television lm Elgar, made when the
Garrard is at the top of Church Street in Malvern, over- composer was still largely out of fashion. This hour-long
looking the town and giving visitors an opportunity to lm contradicted the view of Elgar as a jingoistic and
stand next to the composer in the shadow of the Hills that bombastic composer, and evoked the more pastoral and
he so often regarded. In September 2005, a third statue melancholy side of his character and music.[177]
sculpted by Jemma Pearson was unveiled near Hereford
Cathedral in honour of his many musical and other as-
sociations with the city. It depicts Elgar with his bicycle. 4 Selected works
From 1999 until early 2007, new Bank of England twenty
pound notes featured a portrait of Elgar. The change to
Main article: List of compositions by Edward Elgar
remove his image generated controversy, particularly be-
cause 2007 was the 150th anniversary of Elgars birth.
From 2007 the Elgar notes were phased out, ceasing to The following have been selected as representative of El-
be legal tender on 30 June 2010.[165] gars works, based on quality, signicance and popularity.
There are around 65 roads in the UK named after El-
gar, including six in the counties of Herefordshire and 4.1 Orchestral
Worcestershire.[166] Elgar had three locomotives named
in his honour. [n 19] Froissart, concert overture, Op. 19 (1890)
Serenade for Strings, Op. 20 (18881892)
Variations on an Original Theme (Enigma), Op. 36
(1899)
includes Variation IX Nimrod
Cockaigne (In London Town), concert overture, Op.
40 (19001901)
Pomp and Circumstance, ve marches, all Op. 39
(19011930)
March No. 1 in D (1901) (The trio contains
the tune known as Land of Hope and Glory)
In the South (Alassio), concert overture, Op. 50
Statue of Elgar with bicycle in Hereford (19031904)
Introduction and Allegro for strings (quartet and or-
Elgars life and music have inspired works of literature chestra), Op. 47 (190405)
including the novel Gerontius[103] and several plays. El-
gars Rondo, a 1993 stage play by David Pownall depicts The Wand of Youth, suites Nos. 1 and 2, Opp. 1a/b
the dead Jaeger oering ghostly advice on Elgars musical (186771, rev. 1907/8)
development.[172] Pownall also wrote a radio play, Elgars Symphony No. 1 in A-at, Op. 55 (19071908)
Third (1994);[173] another Elgar-themed radio play is
Alick Rowe's The Dorabella Variation (2003).[174] David Violin Concerto in B minor, Op. 61 (19091910)
Rudkin's BBC television "Play for Today" Pendas Fen
(1974)[175] deals with themes including sex and adoles- Romance for bassoon and orchestra, Op. 62 (1910)
cence, spying, and snobbery, with Elgars music, chiey Symphony No. 2 in E-at, Op. 63 (19091911)
The Dream of Gerontius, as its background. In one scene,
a ghostly Elgar whispers the secret of the Enigma tune Falsta, symphonic study, Op. 68 (1913)
to the youthful central character, with an injunction not Cello Concerto in E minor, Op. 85 (19181919)
to reveal it. Elgar on the Journey to Hanley, a novel by
Keith Alldritt (1979), tells of the composers attachment The Severn Suite, Op. 87 (1930) (for brass band,
to Dora Penny, later Mrs Powell, (depicted as Dora- trans. for orchestra 1932)
16 5 SEE ALSO

4.2 Cantatas and oratorios Go, Song of Mine, SSAATB unacc., words by
Cavalcanti, tr. D. G. Rossetti, dedicated to Alfred
The Black Knight, symphony/cantata for chorus and H. Littleton,[n 20] Op. 57 (1909)
orchestra, Op. 25 (18891892)
The Shower and The Fountain, SATB unacc.,
The Light of Life (Lux Christi), oratorio for soprano, words by Henry Vaughan, Op. 71 Nos.1 and 2
alto, tenor and bass soloists, chorus and orchestra, (1914)
Op. 29 (1896)

Scenes From The Saga Of King Olaf, cantata for so-

prano, tenor and bass soloists, chorus and orchestra, 4.5 Church music
Op. 30 (1896)
Three motets: Ave verum corpus, Ave Maria and
Caractacus, cantata for soprano, tenor, baritone and Ave Maris Stella, Op. 2 (1887)
bass soloists, chorus and orchestra, Op. 35 (1897
1898) Te Deum and Benedictus, Op. 34 (1897)

The Dream of Gerontius, for mezzo-soprano, tenor

and bass soloists, chorus and orchestra, Op. 38 4.6 Chamber music
(18991900)

The Apostles, oratorio for soprano, contralto, tenor
and three bass soloists, chorus and orchestra, Op. 49
(19021903)
The Kingdom, oratorio for soprano, contralto, tenor
and bass soloists, chorus and orchestra, Op. 51
(19011906)
Romance, violin and piano, Op. 1 (1878)
Salut d'Amour (Liebesgruss), violin and piano, Op.
12 (1888)
Chanson de Nuit and Chanson de Matin, violin and
piano, Op. 15 Nos. 1 and 2 (1897/1899).

The Music Makers, ode for contralto or mezzo- Violin Sonata in E minor, Op. 82 (1918)
soprano soloist, chorus and orchestra, Op. 69
(1912) String Quartet in E minor, Op. 83 (1918)

Piano Quintet in A minor, Op. 84 (19181919)

4.3 Songs
"The Wind at Dawn", poem by C. Alice Roberts 4.7 Keyboard
(1888)

Sea Pictures, (Sea Pictures: A Cycle of Five Songs for Organ Sonata in G, Op. 28
Contralto), Op. 37. (18971899)
Concert Allegro, piano, Op. 46 (1901; unpublished)
"Land of Hope and Glory", words by Arthur Christo-
pher Benson (1902)
4.8 Arrangements
Seven Lieder of Edward Elgar (1907)
J. S. Bach, Fantasia and Fugue in C minor, BWV
537, tr. for orchestra, Op. 86 (19211922)
4.4 Partsongs
Handel, Overture in D minor (Overture to Chandos
O Happy Eyes, SATB unacc., words by C. Alice
Anthem In the Lord put I my Trust, HWV247),
Elgar, Op. 18 No.1 (1890)
tr. for orchestra (1923)
My Love Dwelt in a Northern Land, SATB unacc.,
words by Andrew Lang, dedicated to Rev. J. Hamp-
ton (1890) 5 See also
The Snow, SSA acc. 2 violins and piano, words
by C. Alice Elgar, dedicated to Mrs. E. B. Fitton, Dorabella Cipher
Op. 26 No.1 (1894) (also with orchestral accom-
paniment, 1903, and various other combinations of John Alden Carpenter (a student of Elgars in Rome
voices SATB etc.) in 1906)

6 Notes and references
Notes
[1] His siblings were Henry John (Harry"; 184864), Lucy
Ann (Loo) (born 1852), Susannah Mary (Pollie";
born 1854), Frederick Joseph (Jo"; 185966), Francis
Thomas (Frank"; born 1861), and Helen Agnes (Dott
or Dot"; born 1864).[3]
[2] William Elgar was evidently sceptical of any branch of
the church: he wrote of the absurd superstition and play-
house mummery of the Papist; the cold and formal cere-
monies of the Church of England; or the bigotry and rank
hypocrisy of the Wesleyan.[4]
[3] Elgar himself later said, There is music in the air, music
all around us, the world is full of it and you simply take
as much as you require,[8] and The trees are singing my
music or have I sung theirs?"[9]
[4] It is spelt Littleton by all the Elgar authorities cited;
however, some current sources, for example English Her-
itage, spell it Lyttleton.
[5] A prole in The Musical Times reported that Elgar read
a great deal at this formulative period of his life. ... In
this way he made the acquaintance of Sir Philip Sidney's
Arcadia, Richard Baker's Chronicles, Michael Drayton's
Polyolbion", and the works of Voltaire.[12]
[6] Kennedy (ODNB) mentions the 'Romanza' variation (no.
13) in the Enigma Variations and the Violin Concerto as
possible examples, the former being headed "****" and
the latter being inscribed as enshrining an unnamed soul.
[7] When Elgar was knighted in 1904, his daughter Carice
said, I am so glad for Mothers sake that Father has been
knighted. You see it puts her back where she was.[27]
[8] Salut d'Amour became one of Elgars best-selling works,
but initially he earned no royalties, having sold the copy-
right to the publisher Schott for a at fee of 2 guineas;
Schott later decided to pay him royalties.[1][2]
[9] Sullivan said to Elgar, But, my dear boy, I hadn't the
slightest idea of it why on earth didn't you come and
tell me? I'd have rehearsed it myself for you.[31]
[10] Elgar, in recommending Coleridge-Taylor for a commis-
sion from the festival, said, He is far and away the clever-
est fellow going among the young men.[34]
[11] It is not known whether Elgar meant a musical theme or
a more general non-musical theme such as that of friend-
ship. Many attempts have been made to nd well-known
tunes that can be played in counterpoint with Elgars main
musical theme of the piece, from Auld Lang Syne to a
theme from Mozarts Prague Symphony.[38]
[12] For example, according to the Elgar Society's website, in
April and May 2010, the Variations were programmed in
New Orleans, New York, Vancouver, Denver, Moscow,
Washington D.C. and Krakw.
17
[13] Strauss and Elgar remained on friendly terms for the rest
of Elgars life, and Strauss paid him a warm obituary trib-
ute in 1934.[44]
[14] Elgars principal target was J.A. Fuller Maitland, music
critic of The Times, whose patronising obituary of Arthur
Sullivan repelled Elgar;[63] in his Birmingham lectures he
alluded to it as the shady side of musical criticism ... that
foul unforgettable episode.[64]
[15] This was the occasion on which the American tradition of
playing the trio of the rst Pomp and Circumstance March
at graduation ceremonies originated.
[16] The elder daughter was Princess Elizabeth of York (later
Queen Elizabeth II).
[17] Timing from the recording of the Mahler symphony
by Michael Gielen and the Southwest German Radio
Symphony Orchestra, Baden-Baden, Hnssler Classic
CD93.030. Elgar did not know Mahlers works.[128]
[18] In a series of transfers of the composers electrical record-
ings available in 2010, the timings are: Symphony No. 1:
46:28 (Naxos Historical CD 8.111256); Symphony No. 2:
48:30 (Naxos Historical CD 8.111260); Violin Concerto:
49:57 (Naxos Historical CD 8.110902).
[19] The rst was a Bulldog class locomotive of the Great
Western Railway (GWR): it was built in May 1906 as
no. 3704, renumbered 3414 in December 1912, named
A. H. Mills in July 1914, renamed Sir Edward Elgar
in August 1932, and withdrawn from service in Octo-
ber 1938.[167] The second was a Castle class locomo-
tive, also of the GWR: it was built in June 1946 as no.
7005 Lamphey Castle,[168] renamed Sir Edward Elgar
in August 1957 and withdrawn from service in Septem-
ber 1964.[169] The third was a British Rail Class 50 diesel
locomotive: it was built in March 1968 as no. D407,
renumbered 50 007 in the mid-1970s, named Hercules
in April 1978, and renamed Sir Edward Elgar in Febru-
ary 1984.[170] The new nameplates were specially cast in
the former GWR style.[166] On 25 February 1984, this
locomotive was ocially named Sir Edward Elgar at
Paddington station in London by Simon Rattle, then con-
ductor of the City of Birmingham Symphony Orches-
tra.[171]
[20] Alfred Henry Littleton was chairman of the publishers
Novello. At the time that he wrote the song, Elgar and
his wife were staying at the villa of his friend Julia Wor-
thington at Careggi near Florence when they were visited
by Littleton, whose wife had just died.[178]
References
[1] Kennedy, Michael, Elgar, Sir Edward William, baronet
(18571934)". Oxford Dictionary of National Biography,
Oxford University Press, 2004. Accessed 22 April 2010
(subscription required).
[2] McVeagh, Diana, Elgar, Edward. Grove Music Online.
Accessed 20 April 2010 (subscription required)
[3] Moore (1984), p. 14
18 6 NOTES AND REFERENCES

[4] Quoted in Moore (1984), p. 6
[5] Edward Elgar, The Musical Times, 1 October 1900, pp.
64148
[6] Moore (1984), p. 11 and Kennedy (ODNB)
[7] Reed, p. 1
[8] In conversation in 1896, quoted by Buckley, p. 32
[9] Beck, Frank, Elgar His Music: The Dream of Gerontius
A Musical Analysis, The Elgar Society. Accessed 6
June 2010.
[10] Quoted by Kennedy (ODNB)
[11] Reed, p. 11
[12] Edward Elgar, The Musical Times, 1 October 1900, pp.
64148; and Elgar, the man, The Observer, 25 February
1934, p. 19
[13] Moore (1984), pp. 57 and 67
[14] Edward Elgar, The Manchester Guardian, 24 February
1934, p. 16
[15] Young (1973), p. 47
[16] Maine, Basil, Elgar, Sir Edward William, Oxford Dic-
tionary of National Biography archive, Oxford University
Press, 1949. Accessed 20 April 2010 (subscription re-
quired).
[17] Moore (1984), pp. 96, 264, 348, 512, 574, and 811
[18] Moore (1984), pp. 9596
[19] Young (1995), p. 87
[20] Moore (1984), p. 325
[33] The Musical Times, obituary of Elgar, April 1934, pp.
31418
[34] Duchen, Jessica. Talking classical, The Independent, 5
October 2011.
[35] Kennedy (1987), p. 50.
[36] Kennedy (1987), p. 55.
[37] McVeagh (1987), p. 51; Hughes, p. 72
[38] Whitney, Craig R., New Answer to a Riddle Wrapped
in Elgars 'Enigma' Variations, The New York Times, 7
November 1991; Portnoy, Marshall A., The Answer to
Elgars 'Enigma'", The Musical Quarterly, Vol. 71, No.
2 (1985), pp. 20510 Accessed 24 October 2010 (sub-
scription required); and Westrup, J. A., Elgars Enigma,
Proceedings of the Royal Musical Association, 86th Ses-
sion (19591960), pp. 7997. Accessed 24 October 2010
(subscription required)
[39] Atkins, Ivor, Elgars 'Enigma' Variations, The Musical
Times, April 1934, pp. 32830
[40] Reed, p. 59
[41] Reed, p. 60
[42] The German Press on Dr. Elgars 'Dream of Gerontius",
The Musical Times, 1 February 1902, p. 100
[43] Reed, p. 61
[44] Sibelius, Jean, Igor Stravinsky, Richard Strauss and
Arthur Nikisch, Tribute and Commentary, The Musical
Times, April 1934, p. 322.
[45] First Performances in Foreign Countries, The Musical
Times, April 1934, p. 318

[21] King-Smith, Beresford (1995). Crescendo! 75 years of [46] Grogan, Christopher, Elgar, Newman and 'The Dream of
the City of Birmingham Symphony Orchestra. London: Gerontius", Music & Letters, Vol. 77, No. 4 (November
Methuen. p. 2. ISBN 0413697401. 1996), pp. 62932

[22] Quoted in Edward Elgar, The Musical Times, 1 October [47] Lewis, Geraint, A Cathedral in Sound, Gramophone,
1900, pp. 64148 September 2008, p. 50. Accessed 1 June 2010.

[23] Kennedy (1987), p. 15. [48] Kennedy (1970), pp. 3839

[24] Some of Elgars Friends, The Musical Times, April [49] Last Night of the Proms set to reach largest ever global
1934, p. 319 audience, BBC website, 7 September 2009. Accessed 5
November 2010
[25] Moore (1984), p. 587
[50] Kennedy, Michael, Liner note (orig. 1977) to EMI CD
[26] Moore (1984), p. 134
CDM 5-66323-2
[27] Moore (1984), p. 440
[51] Wood, p. 154
[28] Kennedy (1987), p. 115.
[52] Moore (1984), pp. 36467
[29] Anderson, Robert, Elgars Musical Style, The Musical
Times, December 1993, pp. 68990 and 692. Accessed [53] Why Americans graduate to Elgar, The Elgar Society.
23 October 2010 (subscription required) Accessed 5 June 2010.

[30] Reed, p. 23 [54] Homan, Miles, "Pomp and Circumstance: Familiar Stan-
dard Marches Ahead of Competitors, NPR Music. Ac-
[31] Reed, p. 24 cessed 25 October 2010.

[32] Reed, p. 25 [55] Concerts, The Times, 15 March 1904, p. 8

 19

[56] The Elgar Festival, The Times, 16 March 1904, p. 12 [88] Newman, Ernest, Music of the Week, The Observer, 2
November 1919
[57] The Elgar Festival, The Times, 17 March 1904, p. 8
[89] Reed, p. 131
[58] Birthday Honours, The Times, 24 June 1904, p. 12
[90] Elgars Cello Concerto, The Observer, 16 January 1921,
[59] Elgar Court, once known as Plas Gwyn, Geograph. Ac- p. 15
cessed 29 October 2010
[91] Reed, p. 130
[60] Moore (1984), p. 446
[92] Reed, p. 13
[61] Reed, p. 92
[93] Moore (1984), pp. 75051
[62] Reed, p. 89
[94] Moore (1984), p. 17
[63] Fuller Maitland, J. A., Sir Arthur Sullivan, Cornhill
Magazine, March 1901, p. 30009 [95] Plas Gwyn, Hereford, Classic FM. Accessed 25 October
2010.
[64] Young (1971), p. 264
[96] Royal Society of Chemistry. Retrieved 18 October 2014
[65] Reed, p. 97
[97] Michael Sternberg, The Symphony: A Listeners Guide, p.
[66] Kennedy (1987), p. 144.
155. Retrieved 18 October 2014
[67] Anderson, pp. 11516
[98] faculty.cua.edu. Retrieved 18 October 2014
[68] Kennedy (1987), p. 29
[99] Alleyne, Richard, Sir Edward Elgar wrote football chant
[69] Reed, p. 96 along with his classical music, The Daily Telegraph, 26
September 2010
[70] Elgars Symphony, The Musical Times, 1 February
1909, p. 102 [100] Malcolm Sargent, BBC LP RE10 1967 (includes
recording of Sargent talking about Elgar)
[71] Reed, p. 102
[101] Yehudi Menuhin. BBC Four. Accessed 1 May 2010
[72] Reed, p. 103
[102] Moore (1984), p. 323
[73] Reed, p. 105
[103] Service, Tom, Beyond the Malverns: Elgar in the Ama-
[74] Mason, Daniel Gregory, A Study of Elgar, The Musical zon, guardian.co.uk, 25 March 2010. Accessed 5 May
Quarterly, April 1917, pp. 288303 2010
[75] Supplement, The London Gazette, no. 2769, p. 4448, 19 [104] Reed, p. 134
June 1911. Accessed 27 October 2010.
[105] Reed, pp. 20709
[76] Kennedy (1971), p. 82
[106] The London Gazette, no. 32935, p. 3841, 13 May 1924.
[77] Scholes, Percy A., Elgars 'Falsta' Reconsidered, The
Accessed 27 October 2010.
Musical Times, 1 August 1929, p. 696
[107] Philip, Robert, The recordings of Edward Elgar (1857
[78] Reed, p. 115.
1934): Authenticity and Performance Practice, Early
[79] Reed, pp. 115 and 118 Music, November 1984, pp. 48189

[80] Reed, pp. 11516 [108] Elgar Edition, Gramophone, June 1992; February 1993;
and August 1993
[81] Reed, pp. 11718
[109] Video on YouTube. Accessed 2 May 2010
[82] Reed, p. 121
[110] Green plaques scheme, City of Westminster, accessed
[83] HMV discs 02734-7. See Rust, p. 45 15 March 2014

[84] Oliver, Michael, Review, Gramophone, June 1986, p. 73 [111] Reed, p. 142

[85] Sir E. Elgars Violin Sonata, The Times, 22 March 1919, [112] Moore (1979), pp. 4247, 5659, 9698
p. 9
[113] Aldous, p. 124
[86] Elgars New Chamber Music, The Manchester
Guardian, 22 May 1919, p. 10 [114] Reed, p. 145

[87] Lloyd-Webber, Julian, How I fell in love with E Es dar- [115] Payne, Anthony (1998), Liner notes to NMC compact
ling, The Daily Telegraph, 17 May 2007. disc D053
 20 6 NOTES AND REFERENCES

[116] The Spanish Lady, The Elgar Society. Accessed 2 June [147] Hale, Alfred M., The Elgar Protest, The Musical Times,
2010. April 1931, p. 350; King, C. W. and Kaikhosru Sorabji,
The Elgar Protest, The Musical Times, May 1931, pp.
[117] Moore (1984) p. 818 44344; Lorenz, Robert, John Levy and John F. Porte,
The Elgar Protest, The Musical Times, June 1931, pp.
[118] Young (1973), p. 246 54243; Veritas, Mr. Maine and Elgar, The Musical
Times, March 1932, p. 259; Maine, Basil, Mr. Maine
[119] Kennedy (1970), p. 10
and Elgar, The Musical Times, April 1932, p. 354; and
[120] Kennedy (1970), p. 8 Veritas, Mr. Maine and Elgar, The Musical Times, May
1932, p. 450
[121] Cox, pp. 1516
[148] Pre-war Symphonies, The Times, 1 February 1930, p.
[122] Antony Payne on Elgars Symphony No 3, BBC News, 10
13 February 1998. Accessed 22 April 2010.
[149] Reed, p. 180; Kennedy (ODNB), McVeagh (Grove),
[123] Reed, p. 149 Sackville-West, p. 254; and in a centenary symposium
in 1957 a variety of composers, scholars and perform-
[124] Reed, pp. 14850 ers, include Enigma among their favourite Elgar works.
See Vaughan Williams, Ralph, John Ireland, Julius Har-
[125] Kennedy (1970), p. 30 rison, Arthur Bliss, Herbert Howells, Gordon Jacob,
Jack Westrup, Edmund Rubbra, Steuart Wilson, Patrick
[126] Kennedy (1970), p. 32 Hadley, Herbert Sumsion, Frank Howes, Eric Blom,
George Dyson, Thomas Armstrong, W. Greenhouse Allt,
[127] Kennedy (1970), p. 42 Edric Cundell, Ernest Bullock, R. J. F. Howgill, Mau-
rice Johnstone and Eric Warr, Elgar Today, The Musical
[128] Kennedy (1970), p. 52
Times, June 1957, pp. 30206.
[129] Kennedy (1970), p. 43
[150] Sackville-West, Mc Veagh (Grove), Kennedy (ODNB),
[130] Kennedy (1970), p. 45 Reed (perhaps the greatest work of its kind in English
music, p. 61), and Vaughan Williams, Ralph, and others,
[131] Kennedy (1970), p. 50 Elgar Today, The Musical Times, June 1957, pp. 302
06.
[132] Tovey, Donald F., Elgar, Master of Music, Music and
Letters, January 1935, p. 1 [151] Sackville West, p. 254

[152] Elgar, Music and Letters, April 1934, p. 109

[133] Kennedy (1970), p. 35
[153] Kennedy (1970), p. 35; and Reed, p. 151.
[134] Reed, p. 151.
[154] Vaughan Williams, Ralph, and others, Elgar Today,The
[135] Reed, p. 113 Musical Times, June 1957, pp. 30206
[136] Burn, Andrew, Notes to Naxos recording of The Music [155] Fiske, Roger, Elgar, Symphony No. 2 in E at major,
Makers (CD 8.557710) Op. 63, The Gramophone, July 1957, p. 9
[137] Reed, p. 58 [156] Warrack, John, Three English Masters, Gramophone,
March 1984, p. 21
[138] Reed, p. 150
[157] Kennedy (1970), p. 56
[139] McVeagh (2007), p. 78
[158] Farach-Colton, Andrew, Vision of the Hereafter,
[140] Cowan, Rob, Review, Gramophone, March 2000, p. 61 Gramophone, February 2003, p. 39

[141] Clements, Andrew, BBCSO/Davis, The Guardian, 4 [159] An Elgar Musical Diary, The Elgar Society. Accessed
August 2006. Accessed 27 October 2010. 5 June 2010.

[142] Greeneld, Edward, Session report New from Elgar, [160] The London Gazette: no. 33729. p. 4152. 26 June 1931.
Gramophone, March 2005, p. 16
[161] The London Gazette: no. 33946. p. 3805. 2 June 1933.;
[143] Music The Elgar Symphony, The Observer, 13 De- and Elgar, Sir Edward, Who Was Who, A & C Black,
cember 1908, p. 9 19202008; online edition, Oxford University Press, De-
cember 2007. Accessed 3 June 2010 (requires subscrip-
[144] Kennedy, Michael, Holst, Gramophone, December tion)
1990, p. 82
[162] Whos Who, 1934. A and C Black. p. 1050.None
[145] Sackville-West, pp. 25357 are among the collection at the Elgar Birthplace Mu-
seum. The Imperial Russian and German monarchies
[146] Howes, pp. 16567 which would have awarded them had fallen by end 1918.

[163] The Musical Times, December 1970, p. 1211
[164] Library Services, University of Birmingham. Accessed
22 April 2010.
[165] Adams, Stephen, "20 Elgar note withdrawal 'a national
disgrace'", The Daily Telegraph, 29 June 2010
[166] Sinclair, Max, Elgar and the Bridge, BBC Hereford and
Worcester. Accessed 2 June 2010.
[167] le Fleming 1954, pp. G26, G27
[168] le Fleming 1953, p. H18
[169] Sterndale et al. 1974, pp. M94, M101
[170] Marsden 1984, pp. 5051
[171] The Times Diary, The Times, 21 February 1984, p. 12
[172] Morrison, Richard, Making notes of horror in the air,
The Times, 20 October 1993
[173] Kay, Jackie, "Radio:Where the dead have been, The
Guardian, 13 March 1994
[174] Billen, Stephanie, OTV: Radio, The Observer, 22 June
2003
[175] Vertigo Magazine Pendas Fen accessed 18 Novem-
ber 2010; and Pendas Fen (BBC Birmingham, 1973)"
accessed 18 November 2010
[176] Baneld, Stephen, Fictional Elgar, The Musical Times,
October 1979, p. 830 (subscription required)
[177] Riley, Matthew, Rustling Reeds and Lofty Pines: Elgar
and the Music of Nature, 19th-Century Music, Volume
26, No. 2 (Autumn, 2002), pp. 15577
[178] Moore (1984) p. 553
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Hamish Hamilton. ISBN 0-333-48752-4.
Kennedy, Michael (1971). Barbirolli Conductor
Laureate. London: MacGibbon and Kee. ISBN 0-
261-63336-8.
Kennedy, Michael (1970). Elgar: Orchestral Music.
London: BBC. OCLC 252020259.
Kennedy, Michael (1987). Portrait of Elgar (third
ed.). Oxford: Clarendon Press. ISBN 0-19-
284017-7.
le Fleming, H.M. (October 1954). White, D.E., ed.
The Locomotives of the Great Western Railway, part
seven: Deans Larger Tender Engines. Kenilworth:
RCTS. ISBN 0-901115-18-5.
le Fleming, H.M. (1953). White, D.E., ed. The Lo-
comotives of the Great Western Railway, part eight:
Modern Passenger Classes (1st ed.). Kenilworth:
RCTS. ISBN 0-901115-19-3.
McVeagh, Diana M. (2007). Elgar the Music Maker.
London: Boydell Press. ISBN 978-1-84383-295-9.
Marsden, Colin J. (November 1984). BR Locomo-
tive Numbering. Shepperton: Ian Allan. ISBN 0-
7110-1445-0. EX/1184.
Moore, Jerrold N. (1979). Music and Friends: Let-
ters to Adrian Boult. London: Hamish Hamilton.
ISBN 0-241-10178-6.
Moore, Jerrold N. (1984). Edward Elgar: a Creative
Life. Oxford: Oxford University Press. ISBN 0-19-
315447-1.
Reed, W.H. (1946). Elgar. London: Dent. OCLC
8858707.
Rust, Brian (ed.) (1975). Gramophone Records of
the First World War An HMV Catalogue 191418.
Newton Abbot: David and Charles. ISBN 0-7153-
6842-7.
Sackville-West, Edward; Shawe-Taylor, Desmond
(1955). The Record Guide. London: Collins.
OCLC 474839729.
Sterndale, A.C.; Parker, L.T.; Smith, C.; Reed,
P.J.T.; Tabor, F.J.; Davies, F.K.; Allcock, N.J.;
Lucking, J.H. (May 1974). White, D.E., ed. The
Locomotives of the Great Western Railway, part
twelve: A Chronological and Statistical Survey. Ke-
nilworth: RCTS.
22
Wood, Henry (1938). My Life of Music. London:
Victor Gollancz. OCLC 2600343.
Young, Percy M. (1973). Elgar O.M.: a study of a
musician. London: Collins. OCLC 869820.
Young, Percy M. (1971). Sir Arthur Sullivan. Lon-
don: J. M. Dent & Sons Ltd. ISBN 0-460-03934-2.
Young, Percy M. (1995). Elgar, Newman, and the
Dream of Gerontius: In the Tradition of English
Catholicism. Aldershot: Scolar Press. ISBN 0-859-
67877-6.
8 Further reading
Adams, Byron (2000). The Dark Saying of the
Enigma: Homoeroticism and the Elgarian Paradox.
19th-Century Music. 23 (3).
Adams, Byron (ed.) (2007). Edward Elgar and His
World. Princeton and Oxford: Princeton University
Press. ISBN 978-0-691-13445-1.
Alldritt, Keith. Elgar and the Journey to Hanley a
novel. ISBN 0-233-97064-9.
Burley, Rosa; Carruthers, Frank C. (1972). Edward
Elgar: the record of a friendship. London: Barrie &
Jenkins Ltd. ISBN 0-214-65410-9.
Grimley, Daniel and Julian Rushton (eds.) (2004).
The Cambridge Companion to Elgar. Cambridge
Companions to Music. Cambridge: Cambridge
University Press. ISBN 0-521-82623-3.
Harper-Scott, J. P. E. (2006). Edward Elgar, Mod-
ernist. Cambridge: Cambridge University Press.
ISBN 0-521-86200-0.
Harper-Scott, J. P. E. (2007). Elgar: an Extraordi-
nary Life. London: Associated Board of the Royal
Schools of Music. ISBN 1-86096-770-1.
Harper-Scott, J. P. E. and Rushton, Julian (eds.)
(2007). Elgar Studies. Cambridge: Cambridge Uni-
versity Press. ISBN 0-521-86199-3.
Jacobs, Arthur (August 1949). Elgars Solo
Songs. The Musical Times. Musical Times Publi-
cations Ltd. 90 (1278): 267269. JSTOR 933694.
McGuire, Charles Edward (2008). Edward El-
gar: Modern or Modernist?" Construction of
an Aesthetic Identity in the British Press, 1895
1934. The Musical Quarterly. 91 (12).
doi:10.1093/musqtl/gdn026.
McGuire, Charles Edward (2000). Elgar, Judas,
and the Theology of Betrayal. 19th-Century Music.
23 (3): 236272. doi:10.2307/746880.
9 EXTERNAL LINKS
McGuire, Charles Edward (2002). Elgars Orato-
rios: The Creation of an Epic Narrative. Aldershot:
Ashgate Press. ISBN 0-7546-0271-0.
Moore, Jerrold N. (1972). Elgar: A Life in Pho-
tographs. Oxford: Oxford University Press. ISBN
0-19-315425-0.
Moore, Jerrold N. (2004) [First published by Modas
Books (Tunbridge Wells), 1980]. Elgar: Child of
Dreams. London: Faber and Faber. ISBN 0-571-
22337-0.
Mundy, Simon (1980). Elgar: His life and times.
Tunbridge Wells: Modas Books. ISBN 0-85936-
120-9.
Payne, Anthony (1999). Elgars Third Symphony:
The Story of the Reconstruction. London: Faber &
Faber. ISBN 0-57119-538-5.
Reed, W.H. (1989). Elgar as I knew him. Oxford:
Oxford University Press. ISBN 0-19-282257-8.
Thomson, Aidan (2005). Elgar and Chivalry.
19th-Century Music. 28 (3).
Ward, Yvonne M. (2002). Edward Elgar, A.C.
Benson and the creation of Land of Hope and
Glory. The Court Historian. 7 (1). OCLC
43272438.
Young, Percy M. (1978). Alice Elgar: enigma of
a Victorian lady. London: Dobson. ISBN 0-234-
77482-7.
9 External links
Edward Elgar at DMOZ
The Elgar Society (Archived 3 June 2008 at the
Wayback Machine.), ocial site.
The Elgar Foundation and Birthplace Museum, of-
cial site.
Elgar in Hereford, ocial site.
Elgar, Sir Edward William at The National
Archives
Sir Edward Elgar, Bt. at National Portrait Gallery
Elgar material. BBC Radio 3 archives.
Elgar Conducting Pomp and Circumstance March
No. 1 - London Nov. 1, 1931
The Growing Signicance of Elgar, lecture by Si-
mon Mundy, Gresham College, 29 June 2007
Free scores by Edward Elgar at the International
Music Score Library Project
 23

Free scores by Edward Elgar in the Choral Public

Domain Library (ChoralWiki)
Works by or about Edward Elgar at Internet Archive

Edward Elgar at AllMusic

24 10 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

10 Text and image sources, contributors, and licenses

10.1 Text
Edward Elgar Source: https://en.wikipedia.org/wiki/Edward_Elgar?oldid=762089887 Contributors: Magnus Manske, Kpjas, Carey
Evans, Tarquin, Malcolm Farmer, Absecon 59, Deb, Ortolan88, Imran, Camembert, Tillwe, Alan Peakall, Gabbe, Sam Francis,
Minesweeper, PJT, Ugen64, Nikai, Bemoeial, IceKarma, Tpbradbury, Hyacinth, Mackensen, Opus33, Raul654, Wilus, Ortonmc, Pro-
teus, Michael Glass, Jhobson1, Dimadick, Robbot, Pigsonthewing, Chris Roy, Meelar, JackofOz, Matt Gies, Mintleaf~enwiki, Zigger,
Everyking, Gamaliel, VampWillow, Leonard Vertighel, DavidBrooks, Antandrus, Hutcheson, Piotrus, Csmiller, SimonArlott, Dragony-
Sixtyseven, Necrothesp, Neutrality, Marcus2, Njh@bandsman.co.uk, D6, Discospinster, Rich Farmbrough, YUL89YYZ, Pavel Vozenilek,
Bjrn Knutson, Bender235, Mprf10, Violetriga, CanisRufus, Villafanuk, Bobo192, Janna Isabot, John Warburton, , Oliver
Mundy, Schissel, Kiwizzarrd, Craigy144, Timdwilliamson, SlimVirgin, Ksnow, Fontboy, Sketchee, Dirac1933, SteinbDJ, Mullet, Pcpcpc,
Jerey O. Gustafson, FeanorStar7, Before My Ken, Gergiev, Chochopk, Duncan.france, Wikiklrsc, Macaddct1984, Newprogressive, Emer-
son7, Graham87, BD2412, Kbdank71, Rjwilmsi, Mayumashu, Koavf, Missmarple, The wub, TBHecht, Ucucha, Maurog, FlaBot, RobertG,
Jmc, RexNL, Ewlyahoocom, No Swan So Fine, Chobot, Jaraalbe, Gdrbot, Bgwhite, Kralahome, Melodia, Ben Tibbetts, YurikBot, Wave-
length, RobotE, RussBot, Jhbeck23, Musicalplayer, Welsh, Pyrotec, Cenedi, Scs, Gadget850, Barnabypage, David Underdown, Rfsmit,
Nikkimaria, Josh3580, JRawle, JLaTondre, Mais oui!, Garion96, AlexD, Stevouk, Jonathan.s.kt, GrinBot~enwiki, Dwsolo, SmackBot,
Emoscopes, JimmyGuano, Hydrogen Iodide, C.Fred, KocjoBot~enwiki, Zwatkins, Ian Rose, Yamaguchi , Kevinalewis, Chris the speller,
Bluebot, Aidan Work, Argotrof, Thomas Gebhardt, Theboyme, Colonies Chris, Dhartunian, VJDocherty, DeFacto, Zone46, Rrburke,
Kittybrewster, Greenshed, Grover cleveland, Wen D House, Gabi S., Cordless Larry, Smerus, Tim riley, Reccmo, Qmwne235, Shadow-
caster~enwiki, Ohconfucius, Birdman1, Angela26, Simon Harley, Dono, Ser Amantio di Nicolao, BrownHairedGirl, John, Vgy7ujm, Peter-
lewis, Jxb311, Ckatz, Voceditenore, JHunterJ, Violncello, Hu12, Cnbrb, Emayall, Tryde, Shingleton, Besst, Adambiswanger1, FairuseBot,
Tawkerbot2, Wspencer11, HennessyC, BrettMontgomery, 850 C, Mattbr, Scohoust, Hnc197, Nunquam Dormio, Drinibot, Keanur, Neelix,
Chicheley, AndrewHowse, Cydebot, Andrew Wood, Oosoom, Marchaos, TwixWrapper, Hyperdeath, Amandajm, Trident13, DumbBOT,
Ssilvers, Brad101, PamD, DonBarton, EnglishEfternamn, Thijs!bot, Epbr123, Drewheasman, TonyTheTiger, Nonagonal Spider, Head-
bomb, Sobreira, JustAGal, Dmitri Lytov, Mpearsonmadrid, EdJogg, AntiVandalBot, Majorly, Betdud, Kbthompson, Atavi, Handsaw,
Tjmayerinsf, SergeiProkoev, DuncanHill, Dsp13, Rothorpe, Bencherlite, Bongwarrior, VoABot II, SineWave, Bobnotts, Peotrovitch,
Hekerui, Michael.Richards, Mokgamen, Flami72, MartinBot, Clavecin, Keith D, Tmrdavies, Jarhed, Ash, Pharaoh of the Wizards, DrKay,
Trusilver, Numbo3, Swiftynz, Didgeman, Kudpung, Sallyrob, Johnbod, Okanu Lacoy, Vstrad7, Peter I. Vardy, Belovedfreak, NewEng-
landYankee, LiberalViews, Robertgreer, DorganBot, Straw Cat, HighKing, Thismightbezach, Wikieditor06, VolkovBot, The Duke of
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Classickol, Andy Dingley, Tomaxer, Anna512, Dick Shane, AlleborgoBot, CenturionZ 1, Apple egg head, Winston Franklin, SieBot, Plop-
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Polbot, Alex.muller, Mcbill88, Addaick, The Stickler, Towerhouseman, Dabomb87, Bradford rob, ImageRemovalBot, Jamesfranklingre-
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Mabelina, Rror, Dthomsen8, Mortdedes, EvanCortens, Jprw, SilvonenBot, MystBot, Starofaragon, Airplaneman, Bridgetfox, Surtsicna,
Osarius, Maccel62, Addbot, The Sage of Stamford, BepBot, Entendre~enwiki, Debresser, Favonian, Baseball Card Guy, LinkFA-Bot,
Kisbesbot, Your Radio Enemy, Legobot, Luckas-bot, Yobot, Amirobot, KamikazeBot, Manoridius, Bbb23, AnomieBOT, Rubinbot,
1exec1, Dwayne, Kingpin13, Materialscientist, 2deseptiembre, Khasab, Citation bot, Neurolysis, ArthurBot, LilHelpa, Xqbot, DanielS-
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Green Cardamom, FrescoBot, LucienBOT, HJ Mitchell, Sebastianelgar, Wireless Keyboard, Citation bot 1, Kenilworth Terrace, Re-
drose64, Yottie, Michitaro, Crusoe8181, Gerda Arendt, Mr Mulliner, Hawkster44, Specs112, Gilzy, RjwilmsiBot, EmausBot, John of
Reading, Acather96, Pjposullivan, Qdiderot, Tom.petrie, Beeshoney, TherasTaneel, GoingBatty, 4meter4, Erfo46th, Dcirovic, ZroBot,
Klavierspieler, Wackywace, Fielding24, GZ-Bot, SporkBot, Gz33, Crochet, L1A1 FAL, Mikey123yo, Danmuz, Chewings72, Tfenglish,
19thPharaoh, TheElgarOracle, ClueBot NG, JanetTennant, Adamrce, Ponruy, Mr. D. E. Mophon, Helpful Pixie Bot, SchroCat, Art-
ibellaNick, Lowercase sigmabot, TGilmour, Moneybioy1234, Soccerdjdofdwhfodhwo, Carlabieber-, The genius11111, Buyer8899, Wil-
lowmusic, Graham11, Solomon7968, Keith owens, Virtual wurlitzer, Toccata quarta, Karsonksc, StarryGrandma, Cloptonson, Msalkind-
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Finnusertop, Mfrm123, AntiCompositeNumber, Maineartists, Carlos Rojas77, Monkbot, Jim Carter, Amortias, XXXY syndrome, Lib-
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Steven (Editor), GreenC bot, Bender the Bot and Anonymous: 332

10.2 Images
File:A-J-Jaeger.jpg Source: https://upload.wikimedia.org/wikipedia/en/3/37/A-J-Jaeger.jpg License: PD-US Contributors:
a photograph printed in and scanned from The Musical Times, 1 February 1910, p. 93. Original artist:
Photograph credited to E.T. Holding (Possibly Edgar Thomas Holding (1870-1952) )
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tors: ? Original artist: Kittybrewster
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Laurence Binyon by William Strang.jpg Original artist:
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Contributors: Clara Butt & Kenerly Rumford.jpg Original artist: George Grantham Bain Collection (Library of Congress)
10.2 Images 25

File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? Origi-

nal artist: ?
File:Edward_Elgar.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/ce/Edward_Elgar.jpg License: Pub-
lic domain Contributors: http://www.geocities.com/hansenk69/elgar3.jpg (broken link) Original artist: Unknown<a
href='https://www.wikidata.org/wiki/Q4233718' title='wikidata:Q4233718'><img alt='wikidata:Q4233718' src='https:
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http://www.musopen.com Original artist: Skidmore College Orchestra (see Musopen for author information)
File:Edward_Elgar_1917.jpg Source: https://upload.wikimedia.org/wikipedia/en/0/02/Edward_Elgar_1917.jpg License: PD-US Con-
tributors: ? Original artist: ?
File:Elgar{}s_grave,_Little_Malvern.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/be/Elgar%27s_grave%2C_
Little_Malvern.jpg License: CC BY-SA 4.0 Contributors: Own work Original artist: DeFacto
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domain Contributors: en:File:Elgar-Alice-c1891.jpg Original artist: Unknown<a href='https://www.wikidata.org/wiki/Q4233718'
title='wikidata:Q4233718'><img alt='wikidata:Q4233718' src='https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/
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File:Elgar-Bicycle-Statue-by-Oliver-Dixon.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f4/
Elgar-Bicycle-Statue-by-Oliver-Dixon.jpg License: CC BY-SA 2.0 Contributors: From geograph.org.uk Original artist: Oliver
Dixon
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scanned from The Musical Times, Vol. 52, No. 825 (Nov. 1, 1911), pp. 705-07 Original artist: ?
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tributors: ? Original artist: ?
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Elgar-cello-concerto-manuscript.jpg License: Public domain Contributors: Scanned page. Manuscript held by the Royal College
of Music, and reproduced at OMI website. Original artist: Edward Elgar (1857-1934)
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sa-3.0 Contributors: ? Original artist: ?
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tors:
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Original artist: John Everett Millais

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This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.
Original artist: Bain News Service, publisher
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cense: Public domain Contributors: Old Antique Victorian Prints Original artist: Illustrated London News
File:Pomp_and_circumstances_No._1.ogg Source: https://upload.wikimedia.org/wikipedia/commons/e/e4/Pomp_and_circumstances_
No._1.ogg License: Public domain Contributors: YouTube Original artist: Edward Elgar (18571934)
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Joseph Kriehuber (18001876), unknown, Ilya Yemovich Repin (18441930), Pierre Petit (18321909)
File:Serenade_for_Strings_-mvt-1-_Elgar.ogg Source: https://upload.wikimedia.org/wikipedia/commons/e/e5/Serenade_for_
Strings_-mvt-1-_Elgar.ogg License: Public domain Contributors: http://www.usarmyband.com/Audio/army_strings_audio_downloads.
html Original artist: Edward Elgar, performed by the United States Army Strings
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Unknown, Unknown, Unknown, and Robert Regassi
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Edward_Elgar_in_Worcester.jpg License: CC BY-SA 4.0 Contributors: Own work Original artist: Edward Swift
26 10 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

File:Symbol_list_class.svg Source: https://upload.wikimedia.org/wikipedia/en/d/db/Symbol_list_class.svg License: Public domain Con-

tributors: ? Original artist: ?
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Contributors: Own work Original artist: Rei-artur
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US Contributors:
scanned from W. H. Reed, Elgar, Dutton, London, 1943
Original artist:
unknown; other photographs reproduced in the source work are credited: these two images are not attributed to any known photographer

10.3 Content license

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