Edward Elgar

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Image:Edward Elgar.jpg Sir Edward Elgar, 1st Baronet, OM, GCVO (2 June 1857 – 23 February 1934) was an English composer. His first major orchestral work, Enigma Variations, was greeted with acclaim. He also composed oratorios, chamber music, symphonies and instrumental concertos. His compositions also include the Pomp and Circumstance Marches of which No. 1 is often sung to the words "Land of Hope and Glory", notably at The Last Night of the Proms. He was appointed Master of the King's Musick in 1924.

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Biography

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Early years

Edward William Elgar was born in the small village of Lower Broadheath outside Worcester, Worcestershire, to William Elgar, a piano tuner and music dealer, and his wife Ann. The fourth of six children, Edward Elgar had three brothers, Henry, Frederick and Francis, and two sisters, Lucy and Susannah. His mother, Ann, had converted to Catholicism shortly before Edward's birth, so Edward was baptised and brought up as a Roman Catholic.

Surrounded by sheet music and instruments in his father's shop in Worcester's High Street, the young Elgar became self-taught in music. On warm summer days, he would take manuscripts into the countryside to study them (he was a passionate and adventurous early cyclist who learnt to cycle from the very early age of 5). Thus there began for him a strong association between music and nature. As he was later to say, "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."

Having left school at the age of 15, he began work for a local solicitor, but after a year embarked on a musical career, giving piano and violin lessons. At 22 he took up the post of bandmaster at the Worcester and County Lunatic Asylum in Powick, three miles south-west of Worcester. He composed here too; some of the pieces for the asylum orchestra (music in dance forms) were rediscovered and performed locally in 1996.

In many ways, his years as a young Worcestershire violinist were his happiest. He played in the first violins at the Worcester and Birmingham Festivals, and one great experience was to play Antonin Dvorak's Sixth Symphony and Stabat Mater under the composer's baton. Elgar was thrilled by Dvorak's orchestration and this remained an influence on his own style for more than a decade.

At 29, through his teaching, he met (Caroline) Alice Roberts, a Major-General's daughter (shades of Gilbert and Sullivan) and an author of verse and prose fiction. He married her three years later against the wishes of her family, giving her as an engagement present the short violin and piano piece Salut d'amour. The Elgars moved to London to be closer to the centre of British musical life, and Edward started composing in earnest. The stay was unsuccessful, however, and they were obliged to return to Great Malvern, where Edward could earn a living teaching.

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Growing reputation

During the 1890s Elgar gradually built up a reputation as a composer, chiefly of works for the great choral festivals of the Midlands. The Black Knight, King Olaf (1896), The Light of Life and Caractacus were all modestly successful and he obtained a long-standing publisher in Novello and Company.

In 1899, at the age of 42, his first major orchestral work, the Enigma Variations, was premiered in London under the baton of the eminent German conductor Hans Richter. It was received with general acclaim, establishing Elgar as the pre-eminent British composer of his generation. This work is formally titled Variations on an Original Theme (Enigma). The enigma is that although there are thirteen variations on the "original theme", the 'enigma' theme, which Elgar said 'runs through and over the whole set' is never heard. Many later commentators have observed that although Elgar is today regarded as a characteristically English composer, his orchestral music and this work in particular share much with the Central European tradition typified at the time by the work of Richard Strauss. Indeed, the Enigma Variations were well-received in Germany.

The following year saw the production in Birmingham of his choral setting of Cardinal Newman's poem The Dream of Gerontius. Despite a disastrous first performance, the work was established within a few years as one of Elgar's greatest, and it is now regarded as one of the finest examples of English choral music from any era.

Elgar is probably best known for the Pomp and Circumstance Marches (1901). Shortly after their composition, Elgar was asked to set the first march to words by A C Benson as a Coronation Ode to mark the coronation of King Edward VII. The suggestion had already been made (allegedly by the future King himself) that words should be fitted to the broad tune which formed the trio section of this march. Against the advice of his friends, Elgar suggested that Benson furnish further words to allow him to include it in the new work. The result was Land of Hope and Glory, which formed the finale of the ode and was also issued (with slightly different words) as a separate song.

Between 1902 and 1914 Elgar enjoyed phenomenal success, made four visits to the USA including one conducting tour, and earned considerable fees from the performance of his music. Between 1905 and 1908 Elgar held the post of Professor of Music at the University of Birmingham. His lectures there caused controversy owing to remarks he made about other English composers and English music in general; he was quoted as saying "English music is white -- it evades everything". The University of Birmingham's Special Collections contain an archive of letters written by Elgar.

Elgar's Symphony No. 1 (1908) was given one hundred performances in its first year, and in 1911, the year of the completion of his Symphony No. 2, he had the Order of Merit bestowed upon him.

Elgar's musical legacy is primarily orchestral, but he did write for soloists and groups of other instruments. His one work for brass band, The Severn Suite (later arranged by the composer for orchestra), remains an important part of the brass band repertoire. It is occasionally performed in its arrangement by Sir Ivor Atkins for organ as the composer's second Organ Sonata; Elgar's first, much earlier (1895) Organ Sonata was written specifically for the instrument in a highly orchestral style, and remains a frequently-performed part of the English Romantic organ repertoire.

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Later years

During World War I his music began to fall out of fashion. After the death of his wife in 1920 he wrote little of importance. Shortly before her death he composed the elegiac Cello Concerto.

Elgar lived in the village of Kempsey from 1923 to 1927, during which time he was made Master of the King's Musick.

At the end of his life Elgar began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness prevented their completion.

He died on 23 February, 1934. Within four months, two more great English composers - Gustav Holst and Frederick Delius - were also dead.

Image:Edward Elgar statue.png

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Posthumous recognition

The house in Lower Broadheath where Elgar was born is now a museum devoted to him.

The statue of him at the end of Worcester High Street stands facing the cathedral, only yards from where his father's shop once stood.

Another statue of the composer is at the top of Church Street in Malvern, overlooking the town and giving visitors an opportunity to stand next to the composer in the shadow of the Hills which he so often regarded.

In September 2005 a statue sculpted by Jemma Pearson was unveiled near Hereford Cathedral in honour of the few years Elgar lived in the city.

A portrait of Sir Edward Elgar can be found on the Bank of England twenty pound note.

Elgar's sketches for his third symphony were elaborated in the 1990s by the composer Anthony Payne.

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Quotes

"[Elgar's music is] wonderful in its heroic melancholy."

William Butler Yeats on the incidental music for "Grania and Diarmid".

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Honours and Awards

  • 1904 - Elgar was made a knight bachelor. This entitled him to the title 'Sir Edward Elgar', but no post-nominal letters.
  • 1911 - he was admitted to the Order of Merit. He was now 'Sir Edward Elgar OM'.
  • 1924 - he was made Master of the King's Musick
  • 1928 - Elgar was created a Knight Commander of the Royal Victorian Order, becoming 'Sir Edward Elgar OM KCVO'.
  • 1931 - he was made a baronet, becoming 'Sir Edward Elgar Bt OM KCVO'. A baronetcy is an hereditary knighthood, but is passed on only through the male line. As Elgar had only a daughter, the baronetcy became extinct on his death.
  • 1933 - Elgar was promoted within the Royal Victorian Order to Knight Grand Cross. He was now 'Sir Edward Elgar Bt OM GCVO'.

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Works

See also Category:Compositions by Edward Elgar
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Orchestral Works

  • Froissart, Overture for orchestra, Op.19 (1890)
  • Serenade for string orchestra, Op.20 (revised version of Three Pieces for string orchestra, 1888/ 1892)
  • Variations on an original Theme Enigma for orchestra, Op.36 (1899)
  • Sea Pictures, Song Cycle for contralto and orchestra, Op.37 (1897-99)
  • Cockaigne (In London Town), Overture for orchestra, Op.40 (1900/01)
  • Pomp and Circumstance, Marches No.1 and 2 for orchestra, Op.39 (1901)
  • Funeral March from Grania and Diarmid for orchestra, Op.42 (1902, from the incidental music by William Butler Yeats)
  • Dream Children, Two pieces for chamber orchestra, Op.43 (1902)
  • In the South (Alassio), Concert Overture for orchestra, Op.50 (1903/04)
  • Pomp and Circumstance, March No.3 for orchestra (1904)
  • Introduction and Allegro for string quartet and string orchestra, Op.47 (1904/05)
  • Pomp and Circumstance, March No.4 for orchestra (1907)
  • The Wand of Youth, Suite No. 1 for orchestra, Op.1a (1867-71/1907)
  • The Wand of Youth, Suite No. 2 for orchestra, Op.1b (1867-71/1908)
  • Symphony No.1 in A flat for orchestra, Op.55 (1907/08)
  • Elegy for string orchestra, Op.58 (1909)
  • Romance for bassoon and orchestra, Op.62 (1909)
  • Concerto for Violin and Orchestra in B minor, Op.61 (1909/10)
  • Symphony No.2 in E flat for orchestra, Op.63 (1909-1911)
  • Coronation March for orchestra, Op.65 (1911)
  • The Crown of India, Suite for orchestra, Op.66 (1911/12)
  • Falstaff, Symphonic Study for orchestra, Op.68 (1913)
  • Sospiri for string orchestra and harp, Op.70 (1914)
  • Polonia, Symphonic Prelude for orchestra, Op.76 (1915)
  • The Starlight Express, Suite for vocal soloists and orchestra, Op.78 (from the inicidental music to the play by Algernon Blackwood, 1915/1916)
  • The Sanguine Fan for orchestra, Op.81 (1917)
  • Concerto for Cello and Orchestra in E minor, Op.85 (1918/1919)
  • Empire March for orchestra (1924)
  • Suite from Arthur for chamber orchestra (from the incidental music to Laurence Binyon's Arthur, 1924)
  • Minuet from Beau Brummel for orchestra (1928/1929)
  • Pomp and Circumstance, March No.5 for orchestra (1930)
  • Nursery Suite for orchestra (1931)
  • Severn Suite for orchestra, Op.87a (1930/1932)
  • Mina for chamber orchestra (1933)
  • Symphony No.3 for orchestra, Op.88 (sketches, 1932-34, elaborated by Anthony Payne 1972-1997)
  • Piano Concerto, Op.90 (sketches, elaborated by Robert Walker)
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Works for chorus and orchestra (Cantatas, Oratorios etc.)

  • The Black Knight, Symphony/Cantata for chorus and orchestra, Op.25 (1889-92)
  • From the Bavarian Highlands for chorus and orchestra, Op.27 (1895/1896)
  • The Light of Life (Lux Christi), Oratorio for soloists, chorus and orchestra, Op.29 (1896)
  • The Banner of St. George, Ballad for chorus and orchestra, Op.33 (1897)
  • Te Deum & Benedictus for chorus and orchestra, Op.34 (1897)
  • Caractacus, Cantata for soloists, chorus and orchestra, Op.35 (1897/98)
  • The Dream of Gerontius, Oratorio for soloists, chorus and orchestra, Op.38 (1899/1900)
  • Coronation Ode for soloists, chorus and orchestra, Op.44 (1901/02, rev. 1911)
  • The Apostles, Oratorio for soloists, chorus and orchestra, Op.49 (1902/03)
  • The Kingdom, Oratorio for soloists, chorus and orchestra, Op.51 (1901-06)
  • The Crown of India, Imperial Masque for soloists, chorus and orchestra, Op.66 (1911/12)
  • The Music Makers, Ode for soloists, chorus and orchestra, Op.69 (1912)
  • The Spirit of England for soprano/tenor, chorus and orchestra, Op.80 (1915-17)
  • The Smoking Cantata for baritone soloist and orchestra. Written in 1919, this piece was probably never intended to be performed and was given the absurd opus number of 1001. Its duration is less than a minute.
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Chamber Music

  • Sonata for violin and piano, Op.82 (1918)
  • String Quartet in E minor, Op.83 (1918)
  • Piano Quintet in A minor, Op.84 (1918/19)
  • Soliloquy for solo oboe (1930)
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Works for Solo Piano

  • In Smyrna (1905)
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See also

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References and Bibliography

  • Michael Kennedy – Portrait of Elgar 3rd ed. (Oxford: Clarendon Press, 1987)
  • Jerrold Northrop Moore – Edward Elgar: a creative life (Oxford: OUP, 1984)
  • William H. Reed – Elgar as I knew him (Oxford: OUP, 1989)
  • Percy Young – Alice Elgar: enigma of a Victorian lady (London: Dobson, 1978)
  • Percy Young – Elgar OM: a study of a musician 2nd ed. (London: Purnell, 1973)
  • James Hamilton-Patterson – Gerontius (Soho Press, 1989) is a historical novel that gives an imagined account of a cruise to South America that Elgar took in 1923.
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External links

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