© The Musical Times, May and June 1970 (pp. 502-503 & 600)

THE ENIGMA

With reference to Eric Sams's article on the Enigma Variations in the March MT (p.258), I would like to mention three further items of evidence which have, I believe, a significant bearing on the question and may serve to reinforce his argument.

First, Schumann's ABEGC variations and Carnaval overture are specifically mentioned in the programme note for the first performance of the variations al St James's Hall on June 19, 1899. I quote:

In his Variations, which are as far as possible removed from being a series of dry, scholastic exercises, Mr Elgar in the main seems to have followed Wagner's dicta. Indeed, each one of them, like Beethoven's famous “Thirty-­Three” may fairly be regarded as forming a complete poem in itself; while taken collectively they constitute un organic whole, the poetical signification of which is indicated lo the hearer by the initials or Christian names of the per­sonages intended to be portrayed. For the benefit of those listeners who may regard such a mode of procedure as an innovation it may be well to call to mind that an ample precedent has been furnished by other composers. In the Seventeenth Century, the celebrated organist, Froberger, as Mattheson has related, was wont to improvise whole histories on the harpsichord, and to describe personages and their peculiarities in such away that they were easily recognisable by the audience. Further, it has been told of Schumann that even in his school-days he possessed a particular partiality and gift for painting feelings and characteristic traits in tone, even lo the extent of so pre­cisely sketching the various dispositions of his playfellows who stood around him at the piano that they would burst out laughing at the excellence of their portraits. And this power of picturing individuals he carried still farther and more seriously in his “ABEGG” Variations, Carneval scenes, etc.

Elgar himself did not write this note, and these particular words are not attributed to him, as are those given by Dorabella in her book and mentioned by Mr Sams. However, the initials of the reviewer, CAB., printed at the end of the note are placed in square brackets. I can find no other occasion in that series of Richter concerts where this is done, although C.A.B. contributed almost three-quarters of the programme notes. This suggests lo me that he is here perhaps not so much writing original material as putting someone else's material, pre­sumably Elgar's, into a suitable form.

Secondly, in referring to the Music Makers Mr Sams has not, I think, given sufficient weight to what may be found there. This work should not be underrated as an historical document. It is not just that Elgar makes use of extensive self-quotation, but that these quotations are set to words, with the obvious inference that he found the conjunction not just apt but so compelling as lo lay aside the claims of fresh musical expression. Michael Kennedy, in his book Portrait of Elgar, lists the musical quota­tions in the work, but he does not make clear that the Enigma theme, much quoted throughout, occurs in both chorus and orchestra at the words: “O men! Il must ever be/ That we dwell, in our dreaming and our singing,/ A little apart from ye;” (pp. 65-7, vocal score). This seems to accord most fully with Elgar's statement that the Enigma theme expressed his feeling of the loneliness of the artist. Then, at pp. 42-3, the “Nimrod” theme is used for the words: “But on one man's soul it hath broken / A light that doth not depart”. The reference lo Jaeger's encour­agement is obvious especially in the light of the following words: “And his look, or a word he has spoken,/ Wrought flame in another man's heart”. Il may well be that the reference is to the same occasion as that which Dorabella says is the basis of the “Nimrod” variation (1947 end, pp. 110-1). Certainly here we have Elgar fired with inspiration through his friends, and his `theme' made richer by their friendship.

Finally, if Elgar put his name into cipher for the theme of the variations, did he not also for the finale? But what a difference, both in “cipher” and mood! Here surely is the final expression of the transition from darkness lo light, from alone lo befriended and loved. With his friends around him, and C.A.E. and Nimrod beside him, E.D.U. looks to the future and shows what he intends to do.

LondonN22                                                                                                      a. w. savage

ELGAR AND SCHUMANN

I have been following with great interest the recent articles or) Elgar. Mr Eric Sams's mention of Elgar's affinities with Schumann (March MT, pp.261-2) prompts me to make the following observations.

i) Although well-known, the similarity in the open­ings of their respective E flat symphonies is always striking.

ii) “Aspiration” (no 4 of From the Bavarian Highlands) makes great use of the phrase (ex 1) which opens

“Von fremden Ländern und Menschen“ (no 1 of Kinderszenen). Any textual reason for the connection escapes me.

iii) At figure 5 in Falstaff appears ex 2a, bearing an intriguing resemblance to the second song in Frauenliebe und -leben (ex 26).The text to which it is

therein set begins “Er, der Herrlichste von Allen'” not bad sentiments when applied to Prince Hal!

Barber Institute of Fine Arts, University of Birmingham                                      christopher morley