Cover

pdf iconDownload PDF
 

Title Page, Series Page, Copyright Page, Dedication, Quote

pdf iconDownload PDF
 

Table of Content

pdf iconDownload PDF

pp. vii-viii

read more

Acknowledgments

pdf iconDownload PDF

pp. ix-x

First and foremost, I must thank Leon Botstein, whose leadership of the Bard Music Festival is masterful; indeed, this series is the direct result of his vision. I am grateful for the support of Irene Zedlacher and indebted to the encouragement proffered by Christopher H. Gibbs. As with all the volumes in this series, the production schedule for Edward Elgar and His World came with inviolable...

Permissions and Credits

pdf iconDownload PDF

pp. xi-xii

read more

Of Worcester and London: An Introduction

BYRON ADAMS

pdf iconDownload PDF

pp. xiii-xxi

By all rights, 1912 should have been the crowning year of Edward Elgar’s career, his long progress from provincial obscurity to fame and riches consummated at last. In this year Elgar and his wife, Alice, whose faith in her husband’s genius had been vindicated so spectacularly, moved into Severn House, an elegantly appointed home in London designed by the fashionable architect Norman...

Part I: Worcester

read more

Measure of a Man: Catechizing Elgar’s Catholic Avatars

CHARLES EDWARD MCGUIRE

pdf iconDownload PDF

pp. 26-61

In the back of the nave of Worcester Cathedral is the Elgar Window, a memorial to the composer Edward Elgar. This window is an adornment the cathedral holds with pride: besides the requisite postcards, pamphlets, and Pitkin guides for sale in the gift shop, signs pointing the way to the window are attached to the walls of the cathedral itself, greeting visitors as they enter from the north door. The window, designed by Archibald Nicholson, was the result...

read more

Elgar the Escapist?

MATTHEW RILEY

pdf iconDownload PDF

pp. 62-81

One of the more serious charges that can be brought against Elgar is that his art is escapist. This criticism can be targeted in several ways. Most obviously, Elgar was committed to a late-Romantic expressive idiom, to overall monotonality (his works usually begin and end in the same key), and to diatonicism as a basic point of tonal reference. These factors meant that during the first two decades of the twentieth century Elgar’s music began to lag behind...

read more

Elgar and the Persistence of Memory

BYRON ADAMS

pdf iconDownload PDF

pp. 82-119

“I am self-taught in the matter of harmony, counterpoint, form, and, in short in the whole of the ‘mystery’ of music,” declared Edward Elgar in a 1904 interview published in The Strand Magazine. The composer then laid the necessity for self-tutelage at the feet of his humble birth: “When I resolved to become a composer and found that the exigencies of life would prevent me from...

read more

“The Spirit-Stirring Drum”: Elgar and Populism

DANIEL M. GRIMLEY

pdf iconDownload PDF

pp. 120-147

Cultural tourists in the South Midlands, tired perhaps of trawling for edification around the well-trodden circuit of Shakespearean sites in and around Stratford-upon-Avon, are now invited to follow a similar but less familiar itinerary. The Elgar Route, devised and promoted by Worcester City and Malvern Hills District Councils, links together forty-eight different locations with various...

Part II: Documents

read more

Early Reviews of The Apostles in British Periodicals

pdf iconDownload PDF

pp. 150-195

The success of The Dream of Gerontius in Germany in December 1901 and May 1902 propelled Elgar into Britain’s national consciousness on a scale that would have seemed unimaginable just two years earlier. Gerontius soon became a favorite with audiences at the larger English provincial choral festivals, ranking alongside Messiah and Elijah in popularity. Consequently, when it was reported in the...

read more

Charles Sanford Terry and Elgar’s Violin Concerto

pdf iconDownload PDF

pp. 196-213

Since its first performance on November 10, 1910, much scholarly energy has been expended on certain mysterious aspects of Elgar’s Violin Concerto in B Minor, op. 61. The significance of the dedication and the five dots that follow—Aquí está encerrada el alma de….. (Herein is enshrined the soul of…..)—and of Elgar’s particular attention to the grammatical correctness of this Spanish quotation, drawn..

Part III: London

read more

Elgar’s Critical Critics

AIDAN J. THOMSON

pdf iconDownload PDF

pp. 216-245

On December 6, 1905, Edward Elgar delivered the fifth lecture in his first series as Peyton Professor of Music at the University of Birmingham. Titled “Critics,” it was concerned less with individual critics (although several were mentioned by name) than with their function. In Elgar’s opinion, music criticism should be educational as much as judgmental, both for the composer, to whose work a...

read more

Elgar and the Salons: The Significance of a Private Musical World

SOPHIE FULLER

pdf iconDownload PDF

pp. 246-271

The Bank of England has a tradition of embellishing its banknotes with famous British public figures. Those celebrated have included an engineer (George Stephenson), an architect (Christopher Wren), a statesman (the first Duke of Wellington), scientists (Charles Darwin, Isaac Newton, and Michael Faraday), writers (Charles Dickens and William Shakespeare), and social reformers (Elizabeth...

read more

Elgar and the British Raj: Can the Mughals March?

NALINI GHUMAN

pdf iconDownload PDF

pp. 272-309

In January 1912, at the height of its imperial fervor, the British public eagerly devoured colorful newspaper reports of King George V’s visit to India the previous month.1 This royal visit celebrated the king’s assumption of the title “Emperor of India” that had been bestowed upon him during his coronation in Westminster Abbey on June 22, 1911. The focus of the new king’s Indian sojourn...

read more

Working the Crowd: Elgar, Class, and Reformulations of Popular Culture at the Turn of the Twentieth Century

DEBORAH HECKERT

pdf iconDownload PDF

pp. 310-339

Opened in 1904 by the visionary impresario Oswald Stoll, the London Coliseum was arguably the most opulent of the Edwardian music halls. It had a particularly unusual feature: an enormously expensive conveyance christened the “King’s Car.” This clumsy, elephantine contraption was a lavishly decorated anteroom on wheels that ran for twenty-six yards on a series of tracks; it was designed to whisk the king and his guests from their carriages directly...

read more

Elgar’s War Requiem

RACHEL COWGILL

pdf iconDownload PDF

pp. 340-385

While Elgar’s patriotism and sense of Empire have been treated with considerable insight in recent years, Elgar scholarship seems to have found it relatively difficult to explore objectively the religious and denominational contexts in which he lived, and their significance or otherwise for his music.1 Indeed, in some cases emphasis on the former has obscured the latter, as with Jeffrey Richards’s...

Part IV: Summation

read more

Transcending the Enigmas of Biography: The Cultural Context of Sir Edward Elgar’s Career

LEON BOTSTEIN

pdf iconDownload PDF

pp. 388-431

There has been a sustained and growing interest in Edward Elgar and his music since the late 1960s, notably beyond the borders of Britain.1 In light of the wealth of distinguished English composers since Elgar’s death, the historical question regarding the interplay between musical culture and national identity comes readily to mind. Why—before Elgar achieved international recognition...

Index

pdf iconDownload PDF

pp. 432-445

Notes on the Contributors

pdf iconDownload PDF

pp. 446-449