Date: Sun, 11 Feb 1996 22:47:57 -0500 (EST)
From: ROBERTFINLEY@delphi.com
Subject: Enigma Variations, Elgar

Enigma Variations: Sir Edward Elgar. (enigma.mid)

The Enigma Variations were written in 1899 and consist of
a theme and 14 variations which describe Elgar, his wife, and
some of his friends. There are at least two reasons why this music
was called the "Enigma" Variations. He never revealed what the main
theme was based on, even though he was asked about this many times.
(One suggestion was a Chopin Ballade).

He also never revealed who was described in variation 13 that was
entitled "***". Most other variations were entitled by the initials of
the person being described.

The main theme is fairly slow, sad and contrapuntal, and is in G minor.
It modulates to G major briefly and then returns to G minor.

The first variation "C.A.E" (Caroline Alice Elgar) follows immediately
after the main theme and describes Alice, Elgar's wife. It is similar
to the main theme but is played an octave higher with a more elaborate
accompaniment.

The second variation "H.D.S.P." (Hew David Stewart Powell) describes a
pianist friend who played chamber music at Elgar's house. Before the
chamber music began he used to warm up by playing chromatic scales up
and down the keyboard. The music describes this in a satirical way with
fast and light staccato passages.

The third variation "R.B.T." (Richard Baxter Townshend) describes and
eccentric old man who rode a tricycle and played golf with Elgar.
It is a very humorous piece, and one can imagine him on his tricyle,
honking the horn as he goes along!

The fourth variation "W.M.B." (William Baker Meath) is a fast and loud
piece. Meath was a wealthy friend who had a country estate and had big
parties. He had to arrange transportation carriages for all the guests.
This piece describes him in an agitated mood, rushing from the
music room, slamming the door behind him, and reading the list of
guests who would be assigned to each carriage, to the amusement of
everyone.

The fifth variation "R.P.A." (Richard P. Arnold) describes an amateur
pianist friend who would have a serious conversation (described by the
music in the minor key) and then suddenly make an extremely witty and
amusing remark (described by the music in major key).

The sixth variation "Ysobel" describes Isabel Fitton, a tall lady who
introduced Elgar to Alice, his wife.

The seventh variation "Troyte" is extremely energetic and loud, and
describes Arthur Troyte Griffith, an arhitect and artist who was not
a musician but enjoyed cycling, sports, and exploring the countryside
with Elgar.

The eighth variation "W.N" (Winifred Norbury) describes this lady and
her lovely home. She helped to arrange many musical events in
Worcestershire. It is a happy and song-like variation.

The ninth variation, "Nimrod", is one of Elgar's most famous pieces. It
describes August Johannes Jaeger, one of Elgar's closest friends. This
variation follows the previous one without a pause.

The tenth variation "Dorabella" describes Dora Penny, a beautiful young
woman who greatly admired his music and who stayed with the Elgars and
went on holiday with them. It is a very graceful piece.

The eleventh variation "G.R.S." describes a bulldog owned by Dr George
Sinclair (the initials of this variation) who is taken out for a walk
and suddenly slips down a river bank into the water, to be swept along
by the current. The dog paddles frantically but eventually reaches
land and safety.

The twelfth variation "B.G.N." (Basil Nevinson) describes an amateur
cellist who played chamber music with Elgar.

Elgar never revealed to whom he dedicated the thirteenth variation
"***". It was to some lady who was on a sea voyage. It begins in G
major, but a couple of times it modulates to a minor key where
Mendelssohn's "Calm Sea and Prosperous Voyage" overture is quoted.

The fourteenth variation "E.D.U." is the finale and carries Elgar's
initials. "Edu" was the nickname Alice gave him. It is the longest of
the variations. It begins quietly, and a big crescendo leads to the
main, rather pompous theme. A very majestic theme follows which is
typical Elgar, as found in the Pomp and Circumstance Marches. The
original theme returns, and then the music from the 2nd variation
describing Alice returns in the minor key. This eventually modulates
to G major and builds up to a tremendous climax. The piece finishes
with the main chordal theme played in G major, ending with some
tremolandos in the treble and bass.

I am sure that most people have never heard this arrangement of the
Enigma Variations. My score does not indicate who the arranger was.
Since it is a very good reduction of the orchestral version, I assume
that it was done by Elgar himself.

Robert Finley, February 8th 1996.

ROBERTFINLEY@.delphi.com
finley.robert@mail.ndhm.gtegsc.com