Sir Edward Elgar was born in Broadheath, near Worcester, England on June
2, 1857. He studied the organ with his father, and the violin with Adolf
Pollitzer in London. In 1885 he succeeded his father as organist of St.
George’s Church in Worcester. Two years after his marriage to Alice
Roberts, which had taken place in 1889, he withdrew to Malvern where he
lived the next thirteen years, devoted completely to serious
composition. Several choral works were performed at various English
festivals before Elgar achieved outstanding success, first with the
_Enigma Variations_ for symphony orchestra, introduced in London in
1899, and then with his oratorio, _The Dream of Gerontius_, whose
première took place in Birmingham in 1900. From then on Elgar assumed a
position of first importance in English music by virtue of his two
symphonies, vast amount of orchestral, choral and chamber music, and
songs. He was generally regarded one of the most significant English
composers since Purcell in the 17th century. Elgar was knighted in 1904,
appointed Master of the King’s Music in 1924, and made a baronet in
1931. He died in Worcester, England, on February 23, 1934.
It is not difficult to understand Elgar’s enormous popularity. Together
with an elegant sense of structure and style, and a consummate
musicianship, he had a virtually inexhaustible fund of ingratiating
lyricism. His best works are conceived along traditional lines. They are
Romantic in concept, and poetic in content. These qualities—and with
them a most ingratiating sentiment—are also found in his semi-classical
pieces.
The _Bavarian Dances_, for orchestra, come from _The Bavarian
Highlands_, a set of choral songs based on Bavarian folk songs adapted
by Elgar’s wife, Alice, and set for chorus with piano and orchestra, op.
27 (1895). Three folk tunes were subsequently adapted by the composer
for orchestra. Collectively called _Bavarian Dances_, the individual
dances were subtitled by the composer “The Dance,” “Lullaby,” and “The
Marksman.” These dances were first introduced in London in 1897 and have
since enjoyed universal acceptance in some cases for their peasant
rhythmic vigor, and in others for their atmospheric charm.
The _Cockaigne Overture_ (_In London Town_), for orchestra, op. 40
(1901) describes London “as represented by its parks and open spaces,
the bands marching from Knightsbridge to Buckingham Palace, Westminster
with its dignified associations of Church and State,” in the words of
Sir George Grove. The composer himself revealed he wanted to portray in
his music the sights witnessed by a pair of lovers as they stroll
through the city. The hubbub of the city is depicted in the opening
measures, following by an intensely romantic section highlighted by a
broad melody for strings, reflecting the feelings of the lovers as they
stop off momentarily to rest in a public park. They continue their walk,
hear the approaching music of a brass band, then enter a church where
organ music is being played. The lovers continue their walk. The
animated life of the city streets once again is reproduced, and the
earlier romantic melody telling of their emotional ardor for each other
is repeated.
_In the South_ (_Alassio_), a concert overture for orchestra, op. 50
(1904) was written one Spring while the composer was vacationing in
southern Europe. This work reflects Elgar’s intense love of Nature. The
following quotation appears in the published score: “A land which _was_
the mightiest in its old command and _is_ the loveliest; wherein were
cast the men of Rome. Thou are the garden of the world.” The overture
opens with a gay tune for clarinets, horns, violins and cellos. It
receives vigorous treatment and enlargement before a pastoral section is
given by the woodwind and muted strings, a description of a shepherd and
his flock. The overture then alternates between stress and tranquillity,
with great prominence being given to the shepherd’s melody. A viola solo
then leads to the recapitulation section.
_Pomp and Circumstance_ is a set of five marches for symphony orchestra,
op. 39. The composers wanted these marches to provide such music with
symphonic dimensions in the same way that dance music (polonaise or
waltz, etc.) acquired artistic stature at the hands of Chopin, among
others. The phrase “pomp and circumstance” comes from Shakespeare’s
_Othello_. The five marches are in the keys of D major, A minor, C
minor, G major, and C Major. The first two were written in 1901; the
third, in 1905; the fourth in 1907; and the fifth in 1930. The most
famous of these is the second in A minor, one of Elgar’s most frequently
performed compositions, and music as often identified with the British
Empire as “God Save the King.” It opens in a restless, vigorous vein and
erupts into a spacious melody for strings which Laurence Housman
subsequently set to lyrics (“Land of Hope and Glory”). Elgar once again
used this same melody in his _Coronation Ode_ for King Edward VII in
1902. The opening brisk, restless music is recalled after a full
statement of the melody.
The first in D major has a vigorous introduction after which unison
strings come forth with a robust march tune. The opening introduction is
subsequently used as a transition to the trio in which a soaring melody
is set against a uniform rhythmic beat.
The fourth in G major, known as “Song of Liberty,” is also familiar.
Once again the opening consists of spirited march music, and once again
the heart of the composition is a broad and stately melody for the
strings. This melody receives extended treatment which culminates with a
rousing statement by the full orchestra.
_Salut d’amour_, for chamber orchestra, op. 12 (1889) is a nostalgic and
sentimental piece of music in three-part song form that has become a
salon favorite. It is also famous in a transcription for violin and
piano.