The theme is of simple three-part design, and dips between G minor and G major. Martin in the Fields Orchestra Neville Marriner, cond.) Martin in the Fields Orchestra Neville Marriner, cond.)Įdward Elgar: Variations on an Original Theme (Enigma), Op. Today, you are most likely to hear this new version, which first sounded at the Worcester Three Choirs Festival on 13 September 1899 with Elgar conducting.Įdward Elgar: Variations on an Original Theme (Enigma), Op. Elgar later revised the final variation, adding 96 new bars and an organ part. Critics were at first irritated by the layer of mystification, but most praised the substance, structure, and orchestration of the work. It was first performed at St James’s Hall in London on 19 June 1899, conducted by Hans Richter. As for the other mystery, Elgar wrote, “The enigma I will not explain-its dark saying must be left un-guessed, 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…” The piece was finished on 18 February 1899 and published by Novello & Co. The music essentially presents two mysteries first the identities of his friends, with each person save one identified by initials or by a nickname. This is the basis of the composition, but the work may be listened to as a piece of music apart from any extraneous consideration.”Įdward Elgar: Variations on an Original Theme (Enigma), Op. The sketches are not portraits but each variation contains a distinct idea founded on some particular personality or perhaps on some incident known only to two people. It may be understood that these personages comment or reflect on the original theme & each one attempts a solution of the Enigma, for so the theme is called. ‘Eh! Tune, what tune!’ And she said, ‘Play it again, I like that tune.’ I played and strummed, and played, then she exclaimed: ‘That’s the tune.’ The voice of asked with a sound of approval, ‘What is that?’ I answered, ‘Nothing – but something might be made of it.’” The emerging Enigma Variations, according to Elgar, “commenced in a spirit of humor & continued in deep seriousness, and contains sketches of the composer’s friends. Elgar recalls, “I began to play, and suddenly my wife interrupted by saying: ‘Edward, that’s a good tune.’ I awoke from the dream. One October evening in 1898, having returned home after a long day teaching, Edward Elgar lit a cigar and began to improvise at the piano.
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