Overture: ‘Cockaigne’, Op. 40
Edward Elgar (1857-1934)
The turn of century was a fruitful time for Elgar. The ‘Enigma’ Variations were premièred in 1899, ‘The Dream of Gerontius’ in 1900, and this overture, ‘Cockaigne’, in 1901. Conducted by the composer in the Queen’s Hall, it was an instant success, and remained a favourite work for decades. It is played much less frequently now.
The word ‘cockaigne’ means ‘vulgar’, but Elgar was at pains to point out that his overture is far from vulgar; much more, it is exuberant, cheeky, romantic and celebratory and, as such, it provides a vivid portrait of the multi-faceted character of London (sometimes called ‘Cockaigne’ at that time). But one might question why it is called an ‘overture’ because it heralds no opera, ballet or play, and its 15 minutes outlast most other overtures by a significant margin. Perhaps Elgar should have called it a ‘tone poem’ because it evokes pictures and emotions in plenty, even though it has no narrative.
Some have compared the Cockaigne Overture to Wagner’s Prelude to Die Meistersinger von Nürnberg because they share common features, in particular, both combine themes in light-hearted counterpoint, and both use ‘diminution’, that is, revisiting a noble theme at twice its original speed to suggest youth and high spirits. Elgar has been enormously generous with his invention. Really catchy themes and motifs pass in quick succession, each bringing a fresh character and emotion, but this is no mere scattering of good tunes to keep the customers happy. The overture stands up to close scrutiny and analysis. It is brilliantly couched within the framework of ‘sonata form’, (for those interested in such things), and balances keys, moods and dynamics with mastery, culminating in one of Elgar’s grandest melodies, marked Nobilmente, (the first of many times that he used the word) followed by a warm glow in the hearts of all who tend to go a bit gooey about Dear Old London.
Edward Elgar (1857-1934)
The turn of century was a fruitful time for Elgar. The ‘Enigma’ Variations were premièred in 1899, ‘The Dream of Gerontius’ in 1900, and this overture, ‘Cockaigne’, in 1901. Conducted by the composer in the Queen’s Hall, it was an instant success, and remained a favourite work for decades. It is played much less frequently now.
The word ‘cockaigne’ means ‘vulgar’, but Elgar was at pains to point out that his overture is far from vulgar; much more, it is exuberant, cheeky, romantic and celebratory and, as such, it provides a vivid portrait of the multi-faceted character of London (sometimes called ‘Cockaigne’ at that time). But one might question why it is called an ‘overture’ because it heralds no opera, ballet or play, and its 15 minutes outlast most other overtures by a significant margin. Perhaps Elgar should have called it a ‘tone poem’ because it evokes pictures and emotions in plenty, even though it has no narrative.
Some have compared the Cockaigne Overture to Wagner’s Prelude to Die Meistersinger von Nürnberg because they share common features, in particular, both combine themes in light-hearted counterpoint, and both use ‘diminution’, that is, revisiting a noble theme at twice its original speed to suggest youth and high spirits. Elgar has been enormously generous with his invention. Really catchy themes and motifs pass in quick succession, each bringing a fresh character and emotion, but this is no mere scattering of good tunes to keep the customers happy. The overture stands up to close scrutiny and analysis. It is brilliantly couched within the framework of ‘sonata form’, (for those interested in such things), and balances keys, moods and dynamics with mastery, culminating in one of Elgar’s grandest melodies, marked Nobilmente, (the first of many times that he used the word) followed by a warm glow in the hearts of all who tend to go a bit gooey about Dear Old London.