This fascinating CD
presents all the Elgar pieces written
for solo piano and including some of
his piano versions of pieces better
known in orchestral guise. It is a well
presented disc with authoritative notes
by the pianist. These illustrate the
difficulties he had in preparing some
of the scores for this disc.
All his life Elgar
had played piano improvisations for
himself and his friends. In 1929 he
improvised five pieces straight onto
HMV’s hot wax recordings. They were
never written down by Elgar but this
has been done by Norris, based upon
those recordings and are played here.
They are substantial works, fascinating
to listen to. The fourth Improvisation
is based upon the slow movement of his
unfinished Piano Concerto.
Another major work
is the Concert Allegro of 1901. This
had a first performance by the famous
pianist, Fanny Davies and had a poor
reception which induced Elgar to make
savage cuts and alterations. Norris
presents evidence to indicate that the
fault lay with the pianist, not Elgar.
With difficulty Norris has reconstructed
the original version which is played
here. It sounds great! Another almost
unknown masterpiece is the short work
In Smyrna written when Elgar
took a Mediterranean cruise: it is a
perfect tone poem on the spirit of the
east.
Piano versions of the
well-known Imperial March and Three
Bavarian Dances are played with verve.
The remainder of the disc is filled
with short pieces in which Elgar was
so proficient. A mazurka, Chantant,
written when Elgar was 15 is most enjoyable
as is the brilliant Presto. The disc
ends with a short prophetic piece called
Adieu which was one of the last works
Elgar completed. The playing and recording
throughout is excellent.
Arthur Baker
see also notes
by Lewis Foreman
This review has previously been published
in the FRMS Bulletin ©
BOOK REVIEW
Elgar
and the Awful Female
and other essays.pp.96,
P.B., £5.95
by David Bury
Elgar Editions, 20 High Street,
Rickmansworth, Herts WD3 1ER
This is No.2 of the
Elgar Monographs and contains six essays
on different topics relating to Elgar’s
life and music. Elgar and the two mezzos
is an instructive tale of the composer’s
relationship with two mezzo-sopranos
who had sung in his compositions, he
clearly preferred one and we are told
how he managed to turn down the other
with some tact. This is an area of the
composer’s life we seldom hear mentioned.
We are given a sympathetic description
of the work of James Whewall, organist
and director of the North Staffordshire
and District Choral Society which performed
Elgar’s works — notably in the first
London performance of Gerontius.
A detailed description
and history is given of Elgar’s piece
"The Music Makers" which is
based on an Ode by Arthur O’Shaughnessy
who was an unsuccessful zoologist who
worked for the British Museum. Another
musical essay is about an obbligato
to Land of Hope and Glory written by
Elgar and played by the bells of the
Ottawa Peace Carillon at the celebration
of the Diamond Jubilee of Confederation
in 1927.
In 1921 it was conceived
that a Doll’s House should be built
for Queen Mary. Sir Edwin Lutyens, the
architect, designed and organised the
project. It was a fantastic detailed
model with lights, lifts and hot and
cold running water etc. – all working.
He wrote to Elgar asking for a contribution;
Elgar was affronted and refused. All
this is described in fascinating detail.
Although David Bury
admires Elgar, he is not immune to his
faults and at one point comments "…we
are dealing with a notoriously thin
– skinned person of volatile swings
in mood, who frequently exaggerated..
[and] was not averse to being economical
with the truth." These remarks
need to be borne in mind when reading
about ‘Elgar and the Awful Female’,
the story of his involvement with the
new Shakespeare Theatre at Stratford
on Avon and its architect Elizabeth
Scott. A most intriguing story which
brings this interesting short book to
an interesting end.
Arthur Baker
This review has previously been published
in the FRMS Bulletin ©
BOOK REVIEW
Elgar’s
Legacy
A Centennial Legacy of The
Malvern Concert Club
by Michael Messenger
pp.439, H.B. £19.50
Elgar Editions, 20 High Street,
Rickmansworth, Herts WD3 1ER
In 1903 Edward Elgar
and his friend Troyte Griffith, both
living in Malvern, held discussions
which led to the formation of a Concert
Club. This was to hold performances
of chamber music given by "the
best available artists." An initial
concert was given by the Brodsky Quartet
and a general meeting held which elected
Lord Beauchamp as President, Dr. Edward
Elgar as Vice-President and Chairman:
Troyte Griffith and Jebb Scott were
appointed as joint Secretaries (although
the latter moved away the following
year).
The book gives a detailed
history of the first 100 years of the
club’s activities; gives the programmes
of all concerts, notes about the performers
and in many cases extracts from newspaper
reviews. Thus we receive information
on perhaps most of the leading British
players of chamber music (including
solo artists and singers) of the 20th
century and on many of the overseas
artists who appeared at this prestigious
club.
Although Elgar helped
found the club and retained the Vice-Presidency
for many years, he was very busy and
moved away from the area and therefore
played little part except in the early
days: his daughter Carice however was
deeply involved for most of her life.
The Club had good times
and periods of difficulty however in
the last quarter century it has gained
a bigger membership than in the early
years and has now expanded its activities
to hold some concerts with Chamber Orchestras
and other medium sized groupings and
can face the future with some confidence.
Michael Messenger has
obviously undertaken considerable research
and writes clearly.
Arthur Baker
This review has previously been published
in the FRMS Bulletin ©
David Owen Norris (piano)