Enigma Variations

The theme and fourteen variations which make up Elgar's masterpiece must be some of the most-loved English music ever written. Rather than write any more overblown statements, it would be better to quote Elgar's own descriptions of the Variations which he dedicated to "my Friends pictured within". The notes were written for production with a set of pianola rolls issued by the Aeolian Company.

Thus, after the slow poignancy of the short opening theme:-

I. C.A.E.

There is no break between the theme and this movement. The Variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who knew C.A.E. (Elgar's wife) will understand this reference to one whose life was a romantic and delicate inspiration.

II. H.D.S-P.

Hew David Steuart-Powell was a well-known amateur pianist and a great player of chamber-music. His characteristic run over the keys before beginning to play is here humorously travestied in the semiquaver passages.

III. R.B.T.

Richard Baxter Townshend, whose Tenderfoot books are now so well known and appreciated. The Variation has a reference to R.B.T.'s presentation of an old man in some amateur theatricals - the low voice flying off occasionally into 'soprano' timbre.

IV. W.M.B. (W. Meath Baker)

A country squire, gentleman and scholar. In the days of horses and carriages it was more difficult than in these days of petrol to arrange the carriages for the day to suit a large number of guests. This Variation was written after the host had, with a slip of paper in his hand, forcibly read out the arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door.

V. R.P.A.

Richard P. Arnold, son of Matthew Arnold. A great lover of music which he played (on the pianoforte) in a self-taught manner, evading difficulties but suggesting in a mysterious way the real feeling. His serious conversation was continually broken up by whimsical and witty remarks.

VI. YSOBEL (Isabel Fitton)

A Malvern lady, an amateur viola player. It may be noticed that the opening bar, a phrase made use of throughout the Variation, is an 'exercise' for crossing the strings - a difficulty for beginners; on this is built a pensive and, for a moment, romantic movement.

VII. TROYTE (Arthur Troyte Griffith)

A well-known architect in Malvern. The boisterous mood is mere banter. The uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing "slam" records that the effort proved to be vain.

VIII. W.N.

Really suggested by an eighteenth-century house. The gracious personalities of the ladies are sedately shown. W.N. (Winifred Norbury) was more connected with music than others of the family, and her initials head the movement; to justify this position a little of a characteristic laugh is given.

IX. NIMROD

The Variations are not all "portraits"; some represent only a mood, while others recall an incident known only to two persons. Something ardent and mercurial, in addition to the slow movement (No.IX), would have been needful to portray the character and temperament of A.J.Jaeger (Nimrod). The Variation bearing this name is the record of a long summer evening talk, when my friend discoursed eloquently on the slow movements of Beethoven, and said that no one could approach Beethoven at his best in this field, a view with which I cordially concurred. It will be noticed that the opening bars are made to suggest the slow movement of the Eighth Sonata (Pathetique). Jaeger was for years the dear friend, the valued adviser and the stern critic of many musicians besides the writer; his place has been occupied but never filled.

X. DORABELLA INTERMEZZO.

The pseudonym is adopted from Mozart's "Così fan tutte".The movement suggests a dance-like lightness. The inner sustained phrases at first on the viola and later on the flute should be noticed. (Dorabella was Dora Penny).

XI. G.R.S.

George Robertson Sinclair, Mus. D., late organist of Hereford Cathedral. The Variation, however, has nothing to do with organs or cathedrals, or, except remotely, with G.R.S. The first few bars were suggested by his great bulldog Dan (a well-known character) falling down the steep bank into the river Wye (bar 1); his paddling up stream to find a landing place (bars 2 and 3); and his rejoicing bark on landing (2nd half of bar 5). G.R.S. said, "Set that to music". I did; here it is.

XII. B.G.N.

Basil G. Nevinson, an amateur cello player of great distinction and the associate with H.D.S-P. and the writer (violin) in performances of many trios - a serious and devoted friend. The Variation is a tribute to a very dear friend whose scientific and artistic attainments, and the whole-hearted way they were put at the disposal of his friends, particularly endeared him to the writer.

XIII. ***

The asterisks take the place of the name of a lady who was, at the time of the composition, on a sea voyage. The drums suggest the distant throb of the engines of a liner, over which the clarinet quotes a phrase from Mendelssohn's "Calm Sea and Prosperous Voyage". (*** - Lady Mary Lygon).

XIV. E.D.U.

FINALE: bold and vigorous in general style. Written at a time when friends were dubious and generally discouraging as to the composer's musical future, this variation is merely to show what E.D.U. (a paraphrase of a fond name) intended to do. References made to Var. 1 (C.A.E.) and to Var. IX (Nimrod), two great influences on the life and art of the composer, are entirely fitting to the intention of the piece. The whole of the work is summed up in the triumphant broad presentation of the theme in the major. Edward Elgar. Malvern 1899.

These charming notes, flitting between the first and third person and hinting at hidden meanings and amours, give an intimate view of Elgar the insecure, troubled man. They have also kept scholars going ever since, attempting to tease out not only the enigma of the opening theme but also the strands of the composer's personal relationships