- Biography
- Violin Concerto in B Minor
- Nimrod
- Dream of Gerontius
- Pomp and Circumstance
- Introduction and Allegro
- Cello Concerto in E Minor
Biography
Elgar was born near Worcester in 1857 and died there in 1934.
He came from a very musical family; his father was an organist and owned a music shop, and, growing up in such a strong musical environment, it is not really surprising that young Edward quickly became proficient at playing a whole range of instruments, including the piano, violin, cello and double bass, as well as the bassoon and trombone.
What is surprising, though, is that, for the most part, Elgar was largely self-taught.
It was not until quite a bit later that his true quality as a composer began to emerge, following a lengthy period when he made a living as a teacher, a violinist and the bandmaster to the staff of a lunatic asylum.
Elgar was an ambitious man and tried to make a career in London but failed and moved back to his former home in Worcester, where he decided to concentrate on his work as a composer.
He wrote a number of pieces for choral societies in the area, which were performed at festivals throughout Britain, and finally his big break came in 1899, when he composed ‘The Enigma Variations’.
This was enormously well received and established his reputation as being one of the finest British composers to have lived – a reputation that has remained to this day.
In addition to his greatest large-scale masterpieces, Elgar composed a number of shorter works for string instruments that are no less enjoyable and are definitely well worth exploring. They are very often to be found on compilation recordings.
Violin Concerto in B Minor
Violin Concerto in B Minor Op. 61: 3rd Movement
Concerti, Orchestral
This concerto for violin is similar to Elgar’s cello concerto but, quite simply, far grander and a lot more alive.
Nimrod
Enigma Variations Op. 36: ‘Nimrod’
1898, Orchestral
In the late autumn of 1898 Elgar’s wife, Caroline Alice, heard her husband playing a tune that she did not recognise, and when she asked him what it was, he replied that it was nothing much, but perhaps something might be made of it in the future. In fact he went on to produce probably his most famous work, ‘The Enigma Variations’, which is a collection of fourteen pieces, each representing this original theme played in the manner and character of Elgar’s friends. The actual ‘Enigma’ of the title has died with the composer, for he always enjoyed riddles and mystery:
’ . . . the enigma I will not explain – its “dark saying” must be left unguessed and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme “goes” but is not played. So the principal theme never appears.’
For more than eighty years now, music and puzzle lovers have tried to solve the riddle of this ‘larger theme’, but without success. A US magazine even ran a competition with big prizes for the best replies.
Dream of Gerontius
The Dream of Gerontius
1900, Choral
This is a slow and reflective choral work inspired by a meditation on the immortality of the soul by Cardinal Newman. There are some exquisite moments for both soloists and choir.
Pomp and Circumstance
Pomp and Circumstance March No. 1
1901, Orchestral
‘Land of Hope and Glory’, the main theme of Elgar’s Pomp and Circumstance March No. 1, must be one of England’s most patriotic pieces and second only to ‘Rule Britannia’ as an anthem of serious heart-swelling national pride.
Introduction and Allegro
1905, Orchestral
In the style of a concerto grosso (a string quartet is set against a full string orchestra), this is a work that begs the listener to walk out in the open air and enjoy the countryside. It was composed while Elgar was on a walking holiday in the Malvern Hills.
Cello Concerto in E Minor
Cello Concerto in E Minor Op. 85: 1st Movement
1919, Concerti, Orchestral
This concerto was written towards the end of Elgar’s career, and the composer seems to have captured the ‘twilight of the empire’ feel with an aching slow movement. Some see this work as a summary of all Elgar had learnt over his life.