I've no idea what the "enigma" of the variations is meant to be... or quite why this most English of tunes should be named after an ancient near-eastern black dictator whose mother is credited with establishing the world's original Mystery religion... but there you go
Still this is music to make English men and woman cry in times of war. Or being many thousands of miles from home... type thing
I tried to find an English rendition but nearest I could find came from CHICAGO Symphony Orchestra... Daniel Barenboim is a v famous conductor.. even I've heard of him
Here's the blurb:
Daniel Barenboim with the Chicago Symphony Orchestra, opening the 1997 season at Carnegie Hall in this gorgeously performed dedication to the recently deceased Sir Georg Solti. Solti was the previous music director of the CSO for many years.
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3 comments:
Greetings!:
Elgar's "_Enigma_" _Variations_ are a series of character portraits for orchestra of certain of the composer's friends. "Nimrod," the ninth of these, is a tribute to one August Jaeger, who was a publishing assistant at the music-publishing firm of Novello's from the late 1890's until about 1908, and he provided much help and encouragement to Elgar during those years. For quite some time the identities of Elgar's "friends pictured within," as his dedication of this work runs, were not revealed. And yet, when they eventually were, he said that this variation represented a discussion of Beethoven which those two once had. As for the significance of the name, Jaeger is the German word for "hunter," and, of course, Nimrod in _Genesis_ was a mighty hunter.
There is _MUCH_ controversy surrounding the name "Enigma" as associated with these Variations. Yet, in Miss Diana McVeagh's new book, _Elgar_ _The_ _Music_ _Maker_, Boydell (spelling hopefully not errant) Press, 2007, this author suggests that that name may not have been associated with them when the work was first conceived. The trouble _REALLY_ comes in a programme note which Elgar wrote for the first performance of these Variations which, in part, runs something like this:
"The enigma I will not explain. Its dark saying must remain unguessed, as I warn you that the relationship 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. The principal theme never appears, ... the chief character is never on the stage."
If you listen to the theme which gives rise to these Variations, an original theme as this work's official title, _Variations_ _On_ _An_ _Original_ _Theme_, informs us, you will hear that the first violins' initial four notes give the name "Edward Elgar" in natural speech rhythm, and thus this theme represents the composer himself. When he used that theme again in a 1912 choral ode called _The_ _Music_ _Makers_, he said that it also represented to him the loneliness of the artist. As for that "other and larger theme," no one has yet been able to conclusively identify it, though several suggestions, from "Rule! Britania" to "Auld Lang Syne," etc., etc., have been put forward. Yet neither of these is really "large," and thus, if we take Elgar literally, they would not qualify. Others have suggested that it could have represented an abstract idea such as friendship, but the composer took this secret, if secret it really was, to his grave with him, and thus we will probably never know whether there really _WAS_ a counter-theme, or if this was just another of Elgar's "japes." And yet, if it was a "jape," why did he put it forward, in such a serious manner, in a programme note?
Perhaps my favourite recording of this work is one from 1985 with my favourite conductor, Sir Charles Mackerras, leading the London Philharmonic Orchestra. It has been recently re-issued, on the LPO's own Label, as part of a boxed set of collected Elgar orchestral recordings from the past with various conductors and soloists, including the composer himself, released to celebrate this composer's 150th birthday anniversary year, which 2007 is (he was born on 2 June, 1857, in the little village of Broad Heath, near Worcester). Yet, if you do not want that big box, you, of course, _MIGHT_ be able to find it from a certain popular Internet sales outlet or two which I trust I need not name. It would there be on the EMI Label. Sir Charles recorded the _Variations_ again a few years later, on the Decca Label, and yet, though he improves on his earlier effort by placing his first and second violins to his left and right respectably, which was how orchestras were still laid out in Elgar's time, instead of all on the left, I personally do not find that later recording as fresh sounding as the earlier one. Another excellent acount, again in my opinion, is conducted by the late Mr. Norman Del Mar with the Royal Philharmonic Orchestra, and has been issued on at least two labels throughout its somewhat-long life, Deutsche Gramophon and the RPO's own.
Hoping this finds you well, and with best wishes,
J. V.
Since I was just reminded that this blog apparently concerns itself with music videos, you should be aware that all the recordings I discussed above are audio only.
J. V.
Great post. Thank you.
I never cared for Barenboim's Elgar myself.
Amy
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