Orchestral Portraits at Their Finest: Elgar’s Enigma Variations
July 20th 2006 07:30
The story is often told that in 1898 after a day teaching, Elgar sat down at a piano and began fashioning the tune known as ‘Enigma’. It is a unique theme of slightly hesitant melancholy, and as his wife showed interest in it, he created a number of variations on it, imagining what some of his aquaintances might have done with it ‘if they were asses enough to compose’.
What eventually came from this was a symphonic theme and variations, which creates musical portraits of Elgar’s close circle of associates, 14 in all. Each piece was left with initials of a friend, Elgar’s wife or himself, and uses a variety of musical techniques to create vivid depictions of those people. For the benefit of those who havn’t heard it, I will give a run down of the variations and what they depict, and some things to look out for.
I - C. A. E.
Leading straight out of the theme, this variation references Caroline Alice Elgar, the composer’s wife, and uses lush string scoring to depict how Elgar saw her - stately and gracious.
II - H. D. S. -P
This references Hew David Steuart-Powell, pianist in Elgar’s piano trio. Lighter in texture, this attempts to imitate a very brief piano style scherzo in an orchestra - a difficult task Elgar pulls off well.
III - R. B. T
Richard Baxter Townshend was an author friend of Elgar. This music depicts him as something of a humerous eccentric riding around town on a bicycle.
IV - W. M. B
William Meath Baker, known as ‘The Squire’ is featured here. Her nickname appears to be demonstrated with full and noisy writing.
V - R. P. A
Richard Penrose Arnold, an amateur pianist, and son of poet Matthew Arnold. Here there is an intriguing combination of depictions. We see a possible depressive side in a soulful string melody, but also a depiction of bursts of laughter and joviality depicted by woodwinds.
VI - Ysobel
This variation is a depiction of the refined and elegant Isabel Fitton, a viola student of Elgar’s. This piece’s melody is naturally taken by the viola.
VII - Troyte
Arthur Troyte Griffith was an architect. This variation has been described as ‘brusque and argumentative’ but it almost strikes me like the numerous ideas and interplay between motifs make it sound like it’s the depiction of a complex city Griffith may have wanted to design.
VIII - W. N
This describes Winifred Norbury, the secretary of the Worcestshire Philharmonic Society. This variation gives a spacious depiction of the relaxed countryside she apparently lived in, as well as a rendition of her ‘trilly little laugh’ heard on the oboe.
IX - Nimrod
This theme represents Augustus Jaegar, publisher of many of Elgar’s works through Novello & Co. It is the most well known variation and depicts an almost sycophantic grandeur of this character. The name is apparently a pun about a ‘mighty hunter’ in the Old Testament named Nimrod. Jaeger is German for ‘hunter’.
X - Dorabella
The Intermezzo of the variations depicts Dora Penny, a close friend of Elgar. Her gentle character is shown with an expressive viola solo, and her slight stutter (or possibly laugh depending on the source) is shown by the woodwinds.
XI - G. R. S.
This depicts Dr G. R. Sinclair, organist of Hereford Cathedral. Surprisingly, even though an organ features in the variations it is not a central part of this piece as you might imagine. Donald Peart suggests that this variation shows Elgar more interested in depicting Sinclair’s bulldog.
XII - B. G. N
Basil G. Nevison was the cellist of Elgar’s piano trio. This variation as such features the melody presented on cello throughout.
XIII - ***
This variation, titled ‘Romanza’, describes Lady Mary Lygon, later Trefusis. It features a magical solo passage for clarinet which takes a quote from Mendelssohn’s ‘Calm Sea and Prosperous Voyage’. This alludes to a journey taken by Lady Trefusis to Australia. This is not definite though, and is just speculation due to the lack of initials. It may have no relation whatsoever.
XIV - E. D. U.
Finally, the Finale is a Elgar’s own variation as he would compose. It features the full power of the orchestral organ, and is a huge Pomp and Circumstance style display of Bravura. With some soft moments to depict another side to Elgar’s character, this forms a fitting triumphant conclusion to this work.
For Elgar’s intelligent creation of these portraits, the work has maintained its status as a concert favourite ever since its premiere in 1899. Peart writes what I think could be seen as a good summary of the work: ‘The Enigma theme seems to represent the composer in a mood of the deepest depression which his friends, coming in one after another, do their utmost to dispel - and succeed in doing so.’
Tomorrow, I’ll be looking at the famous enigma that the work is known for.
The 'Enigma' theme by Elgar
I - C. A. E.
Leading straight out of the theme, this variation references Caroline Alice Elgar, the composer’s wife, and uses lush string scoring to depict how Elgar saw her - stately and gracious.
II - H. D. S. -P
This references Hew David Steuart-Powell, pianist in Elgar’s piano trio. Lighter in texture, this attempts to imitate a very brief piano style scherzo in an orchestra - a difficult task Elgar pulls off well.
III - R. B. T
Richard Baxter Townshend was an author friend of Elgar. This music depicts him as something of a humerous eccentric riding around town on a bicycle.
IV - W. M. B
William Meath Baker, known as ‘The Squire’ is featured here. Her nickname appears to be demonstrated with full and noisy writing.
V - R. P. A
Richard Penrose Arnold, an amateur pianist, and son of poet Matthew Arnold. Here there is an intriguing combination of depictions. We see a possible depressive side in a soulful string melody, but also a depiction of bursts of laughter and joviality depicted by woodwinds.
VI - Ysobel
This variation is a depiction of the refined and elegant Isabel Fitton, a viola student of Elgar’s. This piece’s melody is naturally taken by the viola.
VII - Troyte
Arthur Troyte Griffith was an architect. This variation has been described as ‘brusque and argumentative’ but it almost strikes me like the numerous ideas and interplay between motifs make it sound like it’s the depiction of a complex city Griffith may have wanted to design.
VIII - W. N
This describes Winifred Norbury, the secretary of the Worcestshire Philharmonic Society. This variation gives a spacious depiction of the relaxed countryside she apparently lived in, as well as a rendition of her ‘trilly little laugh’ heard on the oboe.
IX - Nimrod
This theme represents Augustus Jaegar, publisher of many of Elgar’s works through Novello & Co. It is the most well known variation and depicts an almost sycophantic grandeur of this character. The name is apparently a pun about a ‘mighty hunter’ in the Old Testament named Nimrod. Jaeger is German for ‘hunter’.
X - Dorabella
The Intermezzo of the variations depicts Dora Penny, a close friend of Elgar. Her gentle character is shown with an expressive viola solo, and her slight stutter (or possibly laugh depending on the source) is shown by the woodwinds.
XI - G. R. S.
This depicts Dr G. R. Sinclair, organist of Hereford Cathedral. Surprisingly, even though an organ features in the variations it is not a central part of this piece as you might imagine. Donald Peart suggests that this variation shows Elgar more interested in depicting Sinclair’s bulldog.
XII - B. G. N
Basil G. Nevison was the cellist of Elgar’s piano trio. This variation as such features the melody presented on cello throughout.
XIII - ***
This variation, titled ‘Romanza’, describes Lady Mary Lygon, later Trefusis. It features a magical solo passage for clarinet which takes a quote from Mendelssohn’s ‘Calm Sea and Prosperous Voyage’. This alludes to a journey taken by Lady Trefusis to Australia. This is not definite though, and is just speculation due to the lack of initials. It may have no relation whatsoever.
XIV - E. D. U.
Finally, the Finale is a Elgar’s own variation as he would compose. It features the full power of the orchestral organ, and is a huge Pomp and Circumstance style display of Bravura. With some soft moments to depict another side to Elgar’s character, this forms a fitting triumphant conclusion to this work.
For Elgar’s intelligent creation of these portraits, the work has maintained its status as a concert favourite ever since its premiere in 1899. Peart writes what I think could be seen as a good summary of the work: ‘The Enigma theme seems to represent the composer in a mood of the deepest depression which his friends, coming in one after another, do their utmost to dispel - and succeed in doing so.’
Tomorrow, I’ll be looking at the famous enigma that the work is known for.
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Comment by G_D
Comment by Peter
I managed to get into the symphony orchestra from my audition this semester, but I'll only be playing in the Sibelius. Tickets would be cheap and the standard of the orchestra is always quite high.