Variations on an Original Theme ‘Enigma’, Op. 36
Edward Elgar (1857-1934)
Theme; Variation I: L'istesso tempo ‘C.A.E’ (Caroline Alice Elgar, Elgar's wife); II: Allegro ‘H.D.S.-P.’ (Hew David Steuart-Powell); III: Allegretto ‘R.B.T.’ (Richard Baxter Townshend); IV: Allegro di molto ‘W.M.B.’ (William Meath Baker); V: Moderato ‘R.P.A.’ (Richard Penrose Arnold); VI: Andantino ‘Ysobel’ (Isabel Fitton); VII: Presto ‘Troyte’ (Arthur Troyte Griffiths); VIII: Allegretto ‘W.N.’ (Winifred Norbury); IX: Adagio ‘Nimrod’ (Augustus J. Jaeger); X: Intermezzo: Allegretto ‘Dorabella’ (Dora Penny); XI: Allegro di molto ‘G.R.S.’ (George Robertson Sinclair); XII: Andante ‘B.G.N.’ (Basil G. Nevinson); XIII: Romanza: Moderato
‘* * *’ (Lady Mary Lygon); XIV: Finale: Allegro Presto ‘E.D.U.’ (Elgar himself).
The Enigma comprises a short theme followed by 14 variations. It is Elgar’s best-known large-scale composition, famous for the music itself but also for the enigmas associated with it. Elgar dedicated the piece to ‘my friends pictured within’, all but one of the variations being affectionate portrayals of the composer’s intimate circle. The use of initials and slightly oblique references in the titles link each variation with its associated friend. The odd one out is the finale, which is a self-portrait, E.D.U., an abbreviation of Eduard, the German version of Edward, used by Elgar’s wife, Alice. The variations are linked to the theme rhythmically, harmonically, melodically or through a combination of these.
Some variations present the broad character of the person concerned (their playfulness, nobility etc.); others pick on a particular characteristic. References of this kind are most easily discerned in Variation III, where the music hints at Townsend’s voice which was capable of surprising changes in pitch. Isabel Fitton, of Variation VI, was a viola pupil of Elgar, so the viola plays a prominent role. In Variation X (Dorabella), Dora Penny (later to become Mrs Richard Powell) is heard to have a stutter, spelled out by the woodwind. Basil Nevinson, of Variation XII, was the cellist who inspired Elgar to write his Cello Concerto. This variation includes prominent solo cello passages. The quotation from Felix Mendelssohn’s Calm Sea and a Prosperous Voyage in Variation XIII (Romanza) is saying exactly that to Lady Mary Lygon who had set sail for Australia as the music was being written. So why is this variation entitled ***? Nothing very enigmatic here: Lady Lygon left the UK forgetting to give Elgar permission to use her initials, hence the asterisks.
We can be sure that the ‘enigma’ does not lie in any of the features mentioned above. On the other hand, we have no certain knowledge of where it does lie. Elgar wrote:
The Enigma I will not explain - its ‘dark saying’ must be left unguessed, and I warn you that the 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, even as in some late dramas ... the chief character is never on the stage.
Intriguing but not very helpful. The number of attempts to unravel the enigma exceeds the number of variations (14) and probably the number of recordings made since its first performance in 1899 (more than 60). Whatever the answer may be, or may have been, the concept was a coup that propelled Elgar into the top flight of European composers.
Edward Elgar (1857-1934)
Theme; Variation I: L'istesso tempo ‘C.A.E’ (Caroline Alice Elgar, Elgar's wife); II: Allegro ‘H.D.S.-P.’ (Hew David Steuart-Powell); III: Allegretto ‘R.B.T.’ (Richard Baxter Townshend); IV: Allegro di molto ‘W.M.B.’ (William Meath Baker); V: Moderato ‘R.P.A.’ (Richard Penrose Arnold); VI: Andantino ‘Ysobel’ (Isabel Fitton); VII: Presto ‘Troyte’ (Arthur Troyte Griffiths); VIII: Allegretto ‘W.N.’ (Winifred Norbury); IX: Adagio ‘Nimrod’ (Augustus J. Jaeger); X: Intermezzo: Allegretto ‘Dorabella’ (Dora Penny); XI: Allegro di molto ‘G.R.S.’ (George Robertson Sinclair); XII: Andante ‘B.G.N.’ (Basil G. Nevinson); XIII: Romanza: Moderato
‘* * *’ (Lady Mary Lygon); XIV: Finale: Allegro Presto ‘E.D.U.’ (Elgar himself).
The Enigma comprises a short theme followed by 14 variations. It is Elgar’s best-known large-scale composition, famous for the music itself but also for the enigmas associated with it. Elgar dedicated the piece to ‘my friends pictured within’, all but one of the variations being affectionate portrayals of the composer’s intimate circle. The use of initials and slightly oblique references in the titles link each variation with its associated friend. The odd one out is the finale, which is a self-portrait, E.D.U., an abbreviation of Eduard, the German version of Edward, used by Elgar’s wife, Alice. The variations are linked to the theme rhythmically, harmonically, melodically or through a combination of these.
Some variations present the broad character of the person concerned (their playfulness, nobility etc.); others pick on a particular characteristic. References of this kind are most easily discerned in Variation III, where the music hints at Townsend’s voice which was capable of surprising changes in pitch. Isabel Fitton, of Variation VI, was a viola pupil of Elgar, so the viola plays a prominent role. In Variation X (Dorabella), Dora Penny (later to become Mrs Richard Powell) is heard to have a stutter, spelled out by the woodwind. Basil Nevinson, of Variation XII, was the cellist who inspired Elgar to write his Cello Concerto. This variation includes prominent solo cello passages. The quotation from Felix Mendelssohn’s Calm Sea and a Prosperous Voyage in Variation XIII (Romanza) is saying exactly that to Lady Mary Lygon who had set sail for Australia as the music was being written. So why is this variation entitled ***? Nothing very enigmatic here: Lady Lygon left the UK forgetting to give Elgar permission to use her initials, hence the asterisks.
We can be sure that the ‘enigma’ does not lie in any of the features mentioned above. On the other hand, we have no certain knowledge of where it does lie. Elgar wrote:
The Enigma I will not explain - its ‘dark saying’ must be left unguessed, and I warn you that the 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, even as in some late dramas ... the chief character is never on the stage.
Intriguing but not very helpful. The number of attempts to unravel the enigma exceeds the number of variations (14) and probably the number of recordings made since its first performance in 1899 (more than 60). Whatever the answer may be, or may have been, the concept was a coup that propelled Elgar into the top flight of European composers.