“Salut d’amour” (Love’s Greeting) is one of Elgar’s best-known works and has inspired numerous arrangements for widely varying instrumental combinations. The piano version is the one that introduced me to the English composer at an emotional level, and it is the one I frequently played at various recitals in my early days of concertizing in India and abroad. On YouTube here is the Dutch pianist Wouter Harbers playing Salut d’amour.
Since I’m celebrating today, June the 2nd., the birth of Sir Edward Elgar in 1857 – his 160th anniversary – I felt it incumbent upon me to dedicate this post to his memory.
Sir Edward Elgar
[June 2, 1857-Feb. 21, 1934]
Other than Love’s Greeting cited above, Elgar’s Enigma Variations introduced in London June 19, 1889, by conductor Hans Richter, achieved a major success and remains to this day one of his most celebrated works. Variation IX. Nimrod (August Jaeger) is one of the most beautiful in the entire work: it makes a brief reference to Beethoven’s Sonata pathetique, in deference to Jaeger, who used to talk to Elgar eloquently about Beethoven during their long walks. On YouTube you may hear Daniel Barenboim conduct that variation with the Chicago Symphony.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar’s music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music continues to be played more in Britain than elsewhere.
References: Wikipedia, Encyclopedia of Concert Music by David Ewen
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